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<h1>
    THE CURE
</h1>

<div class="quote">
    "Gothic, these days, means stupid, whiny teenagers who dress in black, listen to Evanescence and think angst and self-mutilation are so KEWL. We are NOT a Gothic band."<br />

    <img alt="The Cure" src="images/cure.png" />
</div>

<div class="members">
    Robert Smith, er... and a bunch of other guys that came and went away all the time.<br />

    <a href="http://www.southparkstudios.com/games/create.html">South Park Create-A-Character</a>
</div>

<p class="albumList">
  <a href="#boys">Three Imaginary Boys</a><br />
  <a href="#seconds">Seventeen Seconds</a><br />
  <a href="#faith">Faith</a><br />
  <a href="#visors">Carnage Visors</a><br />
  <a href="#pornography">Pornography</a><br />
  <a href="#whispers">Japanese Whispers</a><br />
  <a href="#top">The Top</a><br />
  <a href="#door">The Head On The Door</a><br />
  <a href="#me">Kiss Me Kiss Me Kiss Me</a><br />
  <a href="#disintegration">Disintegration</a><br />
  <a href="#wish">Wish</a><br />
  <a href="#swings">Wild Mood Swings</a><br />
  <a href="#bloodflowers">Bloodflowers</a><br />
  <a href="#cure">The Cure</a><br />
</p>

<p>The Cure is a funny band; not in a "ha ha ha, how funny" way, but... you know, they're interesting. They seem to have their own way to make music, to play music, and they aren't willing to conform to any rule or tradition. This is a laudable move, I believe, but it tends to annoy some people. You see, it's easy not to like The Cure's style and all, so they should be approached with care. If they don't seem to appeal to you at all, then they're just not for you. Don't go around bashing them for being bad or insincere or whatever. They are just not for you. Because, frankly, I don't think The Cure can possibly be approached objectively. There is no way you can say "Robert Smith is a good musician" or the opposite, because it all depends to how The Cure sounds to you: Emotional, raw and deep? Superficial, hollow and mechanical? Ridiculous, childish and immature? It all depends on your ears and brain.</p>

<p>Of course, you can base your opinions on several different aspects of the band: sound, vocals, songwriting, lyrics, playing skills... they all have their pros and cons. You might hate their lyrics. Understandable? Sure. You might adore them because of their unique sound. Understandable? Absolutely. But what will you notice first? What part of their music will strike you first? See, you can't just judge them at first glance. It's not wise. True, that is also valid for numerous other bands and artists, but I believe that the contrasts between the various elements of The Cure are so insane, it's almost cartoony. So I can perfectly understand why one wouldn't like The Cure. What I just hate is when people go around saying "The Cure suck! They are bad! You're stupid because you like them!" Dammit, people, what happened to <em>personal taste</em>? What's wrong with me liking The Cure? I think they are very good, thank you. You know, even with all their contrasts and stuff, I think they are a good band. The main problem with understanding the band is that, many times, it's just impossible to pinpoint <em>what the hell they are trying to do</em>. They began as a Post-Punk almost New Wave band, and then they turned Gothic, and then they started making weird, pop music and... you know. It's just hard to really understand their intentions with albums like <strong>Kiss Me Kiss Me Kiss Me</strong> and <strong>Wish</strong>. They were always in their gloomy and The-World-Sucks mood, and then they started doing tunes like 'Just Like Heaven' and 'Friday I'm In Love', and just leave me puzzled.</p>

<p>But it's not like I really <em>try</em> to understand them. I don't care much, and in the end, it's the music that matters. And the music is great! <em>That</em> is why I like them so much. Their compositions were hardly complex or intricate, but Smith learned to make them sound enchanting, entrancing, and even emotional at times. It's an odd thing, when you <em>know</em> a song is good, but it's impossible to explain why. Can anybody tell me why 'A Forest' is so cool? 'Primary' has that cool bass sound, but what <em>else</em> makes it so great? Why is <strong>Disintegration</strong> such an addictive album? That's The Cure for you. Like them or not, you gotta admire their uniqueness. They are something special. You just <em>know</em> it. So let's stop chin wagging and proceed to their albums!</p>

<p><em>Reader comments:</em></p>

<div class="commentsHeader">
      <strong><a href="mailto:this-twilight-garden@hotmail.com">Ruth Kevers</a> (February 20, 2005):</strong>
</div>

<div class="comments">
<p>Hi!</p>

<p>Just to say that your website is great! Such a long review for every album! I would like it if you would also put a review from <strong>Join The Dots</strong> on it or something :-) <span class="edNote">[editor's note: I still have to get <strong>Join The Dots</strong>, but in the moment I have it, I'll certainly add a review here!]</span><br />
What's your name anyway? <span class="edNote">[editor's note: Fernando Canto, but Fernie will do. :)]</span><br />
I'm Ruth, a 16-year-old Belgian Cure-fan.</p>

<p>See you,</p>

<p>Ruth</p>
</div>

<p class="guide">
  The Cure's Discography Guide
</p>
<ul>
  <li>Best album for starters: <strong>The Head On The Door</strong> - It's probably the best balance between authenticity and accessibility on the band's catalogue. Enjoy those catchy, intelligent songs while getting used to Smith's style.</li>
  <li>Essential album: <strong>Disintegration</strong> - And this is what the Cure's all about. It may not be immediately loveable, but it's THE definitive Cure album. Adventurous listeners may want to get this one first.</li>
  <li>Best album: <strong>Disintegration</strong> - It's easily the band's highest point.</li>
  <li>Worst album: <strong>Wild Mood Swings</strong> - This is Smith going berserk. There is too much <em>stuff</em> to justify the greatest spots.</li>
  <li>Best compilation: <strong>Staring At The Sea - The Singles</strong> - Though it only covers the first 6 years of the band, it has the band's best singles, and it includes non-album tracks like 'Killing An Arab', 'Boys Don't Cry' and 'Charlotte Sometimes'.</li>
</ul>

<p><a href="mailto:sirmustapha@gmail.com">Mail your ideas!</a></p>

<hr />

<h2 id="boys">Three Imaginary Boys (1979)</h2>
<p class="medium">
  Best song: <em>*brain explodes*</em>
</p>
<div class="medium">
  Track list:
</div>
<ol>
  <li>10:15 Saturday Night <span class="good">+</span></li>
  <li>Accuracy</li>
  <li><span class="good">Grinding Halt ++</span></li>
  <li><span class="good">Another Day ++</span></li>
  <li>Object <span class="good">+</span></li>
  <li><span class="good">Subway Song ++</span></li>
  <li><span class="good">Foxy Lady ++</span></li>
  <li>Meat Hook <span class="good">+</span></li>
  <li><span class="good">So What ++</span></li>
  <li>Fire In Cairo <span class="good">+</span></li>
  <li>It's Not You</li>
  <li><span class="good">Three Imaginary Boys ++</span></li>
  <li>The Weedy Burton</li>
</ol>

<p>Those searching for gloomy, suicide-inducing Goth rock masterpieces might have bought the Cure debut album and got a huge shock. This isn't Goth at all! You see, this album falls perfectly in the first era of "post Punk" rock music. The Punk bands like Sex Pistols and Clash had just swept the face of the Earth, and the world was experiencing Punkish bands that just weren't Punk... Think of Wire, especially their debut album. <strong>Pink Flag</strong>, remember? If you have heard that one, this album might be <em>fairly</em> familiar to you. If you haven't... What? You <em>HAVEN'T HEARD <strong>PINK FLAG</strong>? WHAT HAPPENED TO YOUR BRAIN, DUMBARSE? FORGOT IT IN THE KITCHEN SINK? GO OUR AND BUY THAT ALBUM RIGHT NOW, IDIOT!</em></p>

<p>No, I'm not saying that you need that album to understand the influences and historical context this album was in. <strong>Pink Flag</strong> is just essential, and everyone needs to have it. But, indeed, it has quite a lot to do with <strong>Three Imaginary Boys</strong>. They aren't exactly <em>similar</em>, as far as sound and composition is concerned, but Wire's debut shows very well the Post Punk spirit of that time: making music that draws a lot of influence from Punk, but that tries to do something very different. The Cure didn't have the artistic aspiration that Wire had, but they did have plenty of creativity. You can't take this album and call it a lame immitation of Punk, because it simply isn't. They have a sound of their own, and the songs are very well written. And the message they deliver is bitter and angry, but more in the "teenager angst" vein instead of the nihilistic and anarchist vein of many British Punk bands. That means, right from the start, Robert Smith thought more about himself rather than the rest of the world.</p>

<p>So yes, if you listen to it with care, this isn't a <em>completely different</em> Cure album. After all, Smith constantly says that he hates this album, because it doesn't really represent what the band was at the time. I don't <em>get</em> his opinion, but that's for another paragraph. The thematics of the album are mostly teenage angst, sometimes obscure, sometimes blatant, sometimes based on literary works, sometimes not. I think the crucial difference between <strong>Three Imaginary Boys</strong> and the rest of the band's output is that here, they don't try to <em>hide</em> their teenage thematics. The faster songs are guitar-heavy, whiny and sharp. There are several slower songs, though, and <em>there</em> lies the most interesting aspects of the album. The "punkier" songs are definitely fun and catchy, most of the time, but it's the other songs that show crucial parts of the band's style. 'Another Day', for example, is pretty much a classic Cure song with a "lighter" sound with spacier production. There is nothing in the song itself that makes it radically different from latter day Cure - the difference lies in the sound and in the production, filled with clean, sharp guitar, hazy arpeggios, more quiet-loud dynamics and more subtle vocals. It's definitely gorgeous and, in fact, one of my favourite songs in the whole album. If the band was making more songs like this, back in that day, I would understand why Smith says the album isn't representative at all.</p>

<p>But hey! The faster songs are delivering pretty much the same mood and message, just with a different sound. And songs like 'Object' and 'It's Not You' aren't a world apart from 'Doubt', for example. They just have more straight-forward instrumentation, but like Smith himself would say, "SOOOOO WHAT? SO WHAT?" It will all depend on how much you like the Punk sound overall. If you do, you're bound to like this album a lot. I <em>do</em> like it a lot, after all, I'm not a wrist-slitting Cureist. And the songs are good as heck! Take 'Grinding Halt', for example. There isn't anything outstanding about the vocal melody and the giggly mock-apocalyptic lyrics, but the performance is spontaneous, and there's that classic "gradual" intro and the turntable-losing-power ending. If anything, it's a display of creativity and unwillingness of being "standard". I like this stuff. 'So What' has Robert Smith in the spotlight, rambling drunken words and reading about an offer of cake decorating sets. It's brilliantly retarded, and just funny. And there's the cover of 'Foxy Lady', played "Punk" style, with stinging high-pitched guitar "riffs", and Michael Dempsey mumbling his way through the song in a way faintly reminescent of Wire. You can face this as a "funny" Punk cover, but it's more of an angry deconstruction rather than an attempt at humour.</p>

<p>Among the other songs, you've got strange attempts at "pop", strange tunes that aren't at all "pop", and more of those dozy shuddery slow songs. '10:15 Saturday Night' is catchy, bouncy and just odd. It makes it pretty clear that the band liked quiet-loud dynamics by this point. And it <em>is</em> a really good pop tune, even with a solid guitar solo. 'Fire In Cairo' is the other potential single - and I think it <em>did</em> become a single. It's darker and quieter than usual, but no less catchy and interesting. 'Meathook' is their attempt at wacky, "spooky" ska, or something like it. It's every bit as spooky as the Backyardigans, of course, but it's spooky nonetheless. 'Subway Song', though, <em>is</em> quite spooky in a disturbing way! It's about two minutes long, has no more than four lines of lyrics, and has not much more than a bass line and creepy harmonica wails. That is the <em>musical</em> part of the song, of course. You'll understand it when you hear it.</p>

<p>To me, the major points of interest are 'Another Day' and the title track, which closes the album (in theory - there's a "hidden track" at the end, a one minute long "boogie woogie" send-up). Of course, it may sound a bit idiotic when I say that, in the most 'unusual' Cure album, the most interesting tracks are the ones that sound the most like the 'usual' Cure songs. But see, the really interesting thing is how those songs are more <em>exposed</em>, more vulnerable, and just more effective than their latter output - at least to me. Smith's calls of "can you help me?" at the end of the title track are really affecting, you know! That's a very good song. I'm not saying that they should have continued making music this way - after all, if they did, they would never have created that sound that makes them so distinct. And after all, the "oddity" of this album only makes it more treasurable. Get this one instead of its North-American counterpoint <strong>Boys Don't Cry</strong>, which replaces some songs with singles like 'Boys Don't Cry' and 'Killing An Arab'. They don't fit in here, and you can get them in other, better releases.</p>

<p class="ratingHeader">
  Rating:
</p>

<p class="rating">
  <big>Fun factor:  <strong>13/15</strong></big> - Mostly great, mostly fun, mostly catchy - mostly most of it.<br />
  <big>Resonance:   <strong>12/15</strong></big> - An emotional masterpiece? Definitely not.<br />
  <big>Originality: <strong>12/15</strong></big> - Fresh and creative, and unique to the band's standards. Nothing more than that.<br />
  <big>Richness:    <strong>13/15</strong></big> - Great songs! Lots of nifty stuff to be found.<br />
  <big>Solidness:   <strong>12/15</strong></big> - Short (35 minutes) and sweet.
</p>

<p class="ratingFinale">
  Total: <img src="images/12.png" alt="12" />
</p>

<p>Comments? Words of love/hate for Bob Smith? <a href="mailto:sirmustapha@gmail.com">Mail me</a>!</p>

<hr />

<h2 id="seconds">Seventeen Seconds (1980)</h2>
<p class="medium">
  Best song: <big>Play For Today</big>
</p>
<div class="medium">
  Track list:
</div>
<ol>
  <li>A Reflection</li>
  <li><span class="good">Play For Today ++</span></li>
  <li>Secrets <span class="good">+</span></li>
  <li>In Your House</li>
  <li>Three</li>
  <li>The Final Sound</li>
  <li><span class="good">A Forest ++</span></li>
  <li>M <span class="good">+</span></li>
  <li>At Night</li>
  <li>Seventeen Seconds</li>
</ol>

<p>I have no idea of how <em>successful</em> the band's debut LP was, back when it was released. Their singles were quite popular, though, so I imagine this album being something of a shock, back then. Nowadays, it's the <em>debut</em> that is a shock, and this one is the "normal" one. Heh. And yes, this is quite a departure from <strong>Three Imaginary Boys</strong>, as far as sound is concerned. Yes, the sound changed considerably. Sound. Production. <em>Those</em> are the key words, and the changes in those areas were so radical, that some people are led to think that other things have changed, too. But I would be more careful, there.</p>

<p>Let's go slowly, part by part. Has the compositional style changed? Not much, when you think of it. You've got the fast songs, you've got the slow songs, guitar arpeggios and pulsating drums. The vocal melodies don't have the same weight that the guitar lines and riffs have. Has the <em>mood</em> changed? Let's see: bitter, sad, obscure, vague, almost desperate at times, almost humourous at times. Those words can be easily associated with <strong>Three Imaginary Boys</strong>, and the only part that doesn't match <strong>Seventeen Seconds</strong> is "almost humourous at times". Yes, the band lost its sense of humour. But it wasn't an "accidental" thing - no, on the contrary, it was the bloody intentional. And the "lost" was <em>so</em> violent, indeed, that it's very easily noticeable. Not only did they lose the sense of humour, but they became SERIOUS AS HELL here. But hey... did the <em>thematics</em> change? Not at all! Maybe <em>on surface</em> they did, but they pretty much remain the same: teenage angst, teenage angst and more teenage angst.</p>

<p>But why did they change "on surface", then? Well, remember that the things that changed considerably here are the sound and production. The consequence is that <em>the way</em> of delivering that mood and those thematics has changed. The guitars lost that stinging, grinding distortion and became quieter; the drums are more electronic (played by hand, but filled with devices that go "pssssh! pssssh!" and "khhhh, khhhh, khhhh"); the bass lines are considerably more present and more melodic; there are plenty of dark, moody keyboards now. The slow songs are far more repetitive and minimal. Smith's lyrics are mysterious and more dramatic. What is he <em>talking</em> about? Well, I don't think the thematics are radically different than the ones explored in 'Three Imaginary Boys' and 'Another Day', but on those songs, he didn't say things like "I live a double life", or "seventeen seconds: a measure of life", nor did he name the tracks 'M' and 'The Final Sound'.</p>

<p>So, the contents are pretty much the same, and what truly changed is the presentation. And this "fast-freeze" of the band is what makes the album quite frustrating: it is too superficial to truly make a statement. I can <em>understand</em> the reasons that led the band to provoke those changes, but the change was too fast and too forced. Does that make the album unlistenable? Not at all, but it doesn't make it entirely enjoyable, either. The album's real curse is its inconsistency: pieces of brilliance are hopelessly interspersed with parts that don't really do anything. And it's a shame, because the album's production is quite careful and elaborate, very <em>icy</em> and white and hazy, and it has almost everyhing that takes to originate a solid mood album. What lacks here is real consistence and a purpose for the whole stuff.</p>

<p>The band's biggest luck is that they have the chops to sound really good when they play fast. They've got the constant, pulsation rhythm, the groovy guitar chug-chuging and that icy, slick sound. It's no wonder that my two favourite songs are the two uptempo ones, 'A Forest' and 'Play For Today'. The latter is no less than a perfect "moody" song, in which no instrument or melody truly stands out, but everything sort of fits everyhing else and forms a bigger, catchy whole. There's a moment of real brilliance near the beginning, when the really moody intro with the harmonics and the bass line take a few moments before they truly take off into the full-fledged, full-speed song. Smith throws in a really good vocal performance, as well. 'A Forest', on the other hand, is pretty much dark and vague in its entirety, and the way they manage to make all those little elements, the odd chord sequences, the sound sparse effects, the disconnected vocal lines and, of course, the groovy guitar chug-chuging and that icy, slick sound all fit into each other flawlessly is impressive.</p>

<p>The slow songs and the instrumentals are the dangerous parts. And if 'The Weedy Burton' is the first one you associate with "instrumental" and "The Cure", well, forget about it. For one, there are three of them here, and I assume the one named 'Three' relates to the chromatic sequence of three notes used in it. It builds on layers of sound effects and electronic sounds, and the "pinging" piano creates the "scary" sequence of chords that moves the song forwards. Yeah, it's a cool effect, it's a cool thing. But what exactly justifies the song's presence there? It's a case where it is not a consequence of the album's scary mood, but it is an <em>attempt</em> of "scarifying" the album. And the album can't be scary if the surrounding material doesn't really achieve that, so the song is pretty much "lost" in the album. And 'The Final Sound' even more, even though it's just fifty seconds of dissonant piano notes. 'A Reflection' isn't "scary" - at least, it doesn't sound like it to me, as it is a "contemplative" intro to the album. A bit too long? Yes, maybe. The melody is not bad at all, though. It's certainly not bad material.</p>

<p>As for the non-instrumental slower songs, well... I'd be saving quite a lot of words by saying that the big curse of the songs I dislike is repetitiveness. It's not just the repetition, but the meandering, empty repetition. 'In Your House' has that looping guitar line almost through the entire song, and within one minute or so, it becomes just nagging. And there's nothing else to hold on to. 'At Night' is a lesser damage, but it kind of loses its goal in creating a vague, dark, empty atmosphere. It <em>could</em> work, but I don't think it does. And why? Well, emptiness isn't really created with emptiness of musical ideas, you know. Fortunately, the other songs pretty much compensate. 'Secrets' is just beautiful, with a really catchy, smart and touching bass line, a subtle, but good vocal delivery, and those crashing piano chords that make a big difference - and of course, the chug-chuging guitar and icy, slick sound only improve matters. This song is a blessing in an album like this. 'M' is not much more than a pop ballad, but a <em>darned fine</em> pop ballad, with strummed electric guitar, those vaguely ominous, low keyboard lines and a very catchy delivery, overall. Finally, the title track does hide quite a lot of goodiness under its very <em>slow</em>, very gradual intro and its unsurprising guitar chords. Not exactly a highlight, but the album deserves its presence.</p>

<p>I feel kind of dubious when grading this album - after all, it's five <em>good</em> tracks among five <em>meh</em> to <em>bleh</em> tracks. Sounds a bit harsh. Then again, I don't think any track is really bad. And there <em>is</em> an overall mood running through the album. And the album is short. But then again, is that really a good thing? At thirty-six minutes, it doesn't overstay its welcome. But maybe it isn't given enough space to develop those "song-like" ideas a bit more. But maybe not. So, it's a bit of an indecision here. The album doesn't deserve an "average" rating. And it's all a matter of balancing the good against the bad - in your case, you'll have to think carefully if you want to buy the album. If you don't like monotony, stay away. In case you want to listen to it, or if you already listened to it and didn't realise, notice that <em>every</em> song is minor-key. Well, 'The Final Sound' is atonal, I suppose, but do fifty seconds of plonking make any difference here?</p>

<p class="ratingHeader">
  Rating:
</p>

<p class="rating">
  <big>Fun factor:  <strong>11/15</strong></big> - Given the right circumstances, I <em>can</em> enjoy this album quite a lot.<br />
  <big>Resonance:   <strong>8/15</strong></big>  - Hm, not really. There's a lot of that attempt at being what it isn't.<br />
  <big>Originality: <strong>10/15</strong></big> - Not very original, but not too derivative, either.<br />
  <big>Richness:    <strong>11/15</strong></big> - There <em>is</em>good material here. It's just not very well distributed and shaped.<br />
  <big>Solidness:   <strong>11/15</strong></big> - It's a good listen.
</p>

<p class="ratingFinale">
  Total: <img src="images/10.png" alt="10" />
</p>

<p>Comments? Ideas? Flames? <a href="mailto:sirmustapha@gmail.com">Mail me</a>!</p>

<hr />

<h2 id="faith">Faith (1981)</h2>
<p class="medium">
  Best song: <big>Primary</big>
</p>
<div class="medium">
  Track list:
</div>
<ol>
  <li>The Holy Hour <span class="good">+</span></li>
  <li><span class="good">Primary ++</span></li>
  <li>Other Voices</li>
  <li><span class="good">All Cats Are Grey ++</span></li>
  <li>The Funeral Party <span class="good">+</span></li>
  <li>Doubt <span class="good">+</span></li>
  <li>The Drowning Man <span class="good">+</span></li>
  <li>Faith</li>
</ol>

<p>Things start getting interesting here. Oh, yes. I can't say this is a "defining" moment for The Cure, but they are certainly reaching that defining moment. And to me, this album <em>is</em> an important evolution for the band. For one thing, Smith is no longer trying to get "serious" about his problems - now, he's truly finding things to write about. Okay, maybe not <em>things</em> to write <em>about</em>, but he is discovering his skills in writing lyrics for creating moods, making statements. But the big evolution isn't really in the lyrical department. Once again, it's the music and sound that matters. They are writing <em>songs</em> now. Yes, they finally found the way to make their sound <em>work</em>: no more meandering repetition, no more loose instrumental ends, no more loose ends, no more wasted atmosphere. I can say I like all eight songs here, and I mean it. I like them all. And I like the fact that they <em>are</em> creating one bigger landscape, you know: also white, also hazy, also icy, but... there's a difference. There's <em>texture</em> and <em>depth</em> here. There's something beyond the surface, and whatever it is, it's <em>there</em>, and it's tangible. It's the band really putting more thought in their music.</p>

<p>And you might be surprised, but this is one of Smith's favourite Cure albums. And, matter of fact, it happens to be one of <em>my</em> favourite Cure albums, as well. Why? It's tight, cohesive, well-written and well-performed, and it's... it has that mood, you know. It really sucks you in. And the songs <em>are</em> good - be it when they're understated and moody, or when they're fast and clear. Yes, there's more of the "moody" variety, true. And they are mostly understated, quiet, and they might even pass you by - but pay a bit more of attention to them, if you will. 'The Holy Hour' has that <em>odd</em> thing about it - no more chug-chuging guitars, but there's the really cool, ominous bass line, with that flanger effect that makes it "swirl" around like a potion in a witch's cauldron. Smith's delivery is good, too. A big highlight is 'All Cats Are Grey', though, with its gorgeous chord progression played on those humming keyboards and bass over the echoey percussion track. There's just something unexplainable beautiful and sad about it. Smith just sings a few lines after a long instrumental section - already predicting the tradition of having vocals enter only after the instruments are fully stablished. Just brilliant.</p>

<p>But it's in the "fast song" department that we've got the biggest classic - maybe <em>one of</em> the biggest classics, but it was the hit single, after all. 'Primary' is simply one of the best Cure songs of their early period - if not THE best one. The <em>dark</em> effect they achieve is impressive, and done with the brilliant idea of having only <em>two</em> bass guitars playing all the way, without any other electric guitar in sight. Add the constant pulsating drums and Smith's oddly catchy vocal melody, and you've got it. You don't need much more than that, as you'll probably get hooked by the constant chopping of the bass guitars. 'Doubt' is... wow, almost punkish! Yeah, out of nowhere, you've got the stinging guitar chords back again. This is far more vicious and angry than anything on <strong>Three Imaginary Boys</strong>, though - at least more <em>openly</em> vicious.</p>

<p>There are also songs here that aren't quite in the <em>understated</em> and moody vein, but aren't fast, either. 'The Drowning Man' is very tense, with a beautiful guitar work - I'm talking about those constantly stinging guitar notes, you know. And 'Other Voices' is pretty much a darned great "dark pop" tune. It also shows how they could always find the <em>perfect</em> echo effects to get the desired effects. Quite amazing, isn't it? You might not think so. What <em>is</em> worth mentioning, though, is that, no matter how silly it sounds, this album has a <em>major key song</em>. Yeah, it wasn't in vain that I mentioned that <strong>Thirty Six Minutes</strong> had all songs in minor chords. To me, this shows that Smith found <em>different</em> ways to make sad songs. 'The Funeral Party' has soaring, "majestic" chords, over which Smith lies his poetry. I hate to be insensitive like that, but here's a moment when the lyrics just pass me by completely. However, I like this song, if only because it's so unexpected.</p>

<p>The title track ends the album on a <em>really</em> understated and moody note. It's lengthy, and it's not one of my favourites, but it's still a solid way to end the album - every bit as white and hazy as it started. The high rating the album gets here might be a bit shocking, but it's true, I <em>do</em> like it all that much. I just tend to like albums that creates moods, you know, and this album does that wonderfully - and better yet because it's <em>balanced</em>. And the "classic" Cure sound is notable for <em>not</em> being balanced at all - sometimes for better, sometimes for worse. Still, this album is one of a kind. Not highly recommended, but highly enjoyed.</p>

<p class="ratingHeader">
  Rating:
</p>

<p class="rating">
  <big>Fun factor:  <strong>14/15</strong></big> - Exaggeration? Hmm, I wouldn't say so.<br />
  <big>Resonance:   <strong>14/15</strong></big> - Yes! Yes! Very palpable stuff, even if it doesn't sound necessarily sincere.<br />
  <big>Originality: <strong>12/15</strong></big> - They were getting the hang of their business quite well.<br />
  <big>Richness:    <strong>14/15</strong></big> - Very good stuff, indeed.<br />
  <big>Solidness:   <strong>15/15</strong></big> - Yep. I can't ask for much more.
</p>

<p class="ratingFinale">
  Total: <img src="images/14.png" alt="14" />
</p>

<p>It feels like a hundred <a href="mailto:sirmustapha@gmail.com">mails</a>... WHOOPS, wrong album. Sorry.</p>

<hr />

<h2 id="visors">Carnage Visors (1981)</h2>
<p class="medium">
  Best song: <em>There's only one. This isn't an "album" per se</em>
</p>
<div class="medium">
  Track list:
</div>
<ol>
  <li><span class="good">Carnage Visors ++</span></li>
</ol>

<p>A soundtrack, as it seems. The oddity is that this is only one 27-minute track, so it isn't a "soundtrack album". And, in fact, the only "official release" it ever had in The Cure catalogue was in the B-side of a cassete, with the entire <strong>Faith</strong> album on side A. In other words, I have no idea of how this 'soundtrack' was 'released'. Oh, yes, it appears often in compilations of rarities and such. But basically, it's not that trivial a task to try to pick it up.</p>

<p>And that's a shame, because this alb-- er, this 'piece' is outstanding. What's so amazing is that this manages to contain <em>a lot</em> of the "essence" of the Cure of this epoch in a way none of their albums ever did. And the irony is that, as much as Robert Smith's lyrics are important and all, this piece is awfully representative of their "mood" <em>without having a single word whatsoever</em>. It's true that The Cure did very few instrumentals, and most of them are in <strong>Seventeen Seconds</strong>, and they aren't that good. Well, this piece just REEKS of Cureism. So, if you want to know what <em>really</em> is a band sounding like they're standing at the edge of their lives, come <em>here</em>. You may even think <strong>Pornography</strong> is a bit childish in comparison.</p>

<p>Am I exaggerating? I dunno. But I'm just amazed that the band does such a good job here, and they never tried something similar in their "official" albums. Smith often tried to achieve the same effect in different ways, and it turns out <strong>Carnage Visors</strong> outshines much of their other work, at least in the <strong>Pornography</strong> days. I guess this is because Smith &amp; Co. weren't trying to call everyone's attention to the fact that they were sad and depressed and angsty. This time, they had a clear mood to convey, and that's what they do: try to convey a mood. And they <em>do it</em>. The mood here is nervousism, tension, fright and almost <em>agony</em>. It's like you're in a situation when you may die in 27 minutes, but you have no idea if you <em>will</em> die or if you'll survive. So, all you can do is wait. But you <em>can't</em> wait, because your mind doesn't quiet down. Get the idea? There's a nagging feeling in the back of your brain, it almost hurts. You just want time to pass faster; you don't even care if you will die or not, you just want to <em>see</em> what will happen. I don't know if that was the intention, but these feelings are <em>very</em> clear when I listen to this. And the band's advantage is that they <em>weren't</em> feeling like that, so they were not trying to <em>convince</em> us that they <em>were</em>, indeed, feeling like that. No: the case here is that the band <em>makes you feel like that</em>, simple and true. And they only have their instruments to do that: no voice, no words, nothing. Just sounds. And they <em>did it</em>. Amazing!</p>

<p>The music? How does it <em>sound</em> like? Well... it's 27 minutes long. And as you may have guessed, it sounds pretty much the same all the way through. No drastic changes in sound, rhythm or mood happen: it's the same mood represented in slightly different ways. You have this electronic rhythm pumping, the bass <em>very</em> high in the mix, and the guitar producing some hazy noise. The bass is king at all times. And then, it starts to play increasingly more refined lines and riffs, the guitar tries to follow but only ends up making that hazy noise, the drums start making variations, and some keyboards join. At most times, the band is alternating between only two chords, three at most. But the motifs are always changing. So, three minutes from now, the bass will be playing something different, the guitar is slightly louder, and you realise they're building up tension! And then it softens up, it starts taking another shape, it goes back to a previous motif... always with that dark, rough and aggressive sound, the same electronic drums and the same chord. So, the same mood is running all the way through it, but it <em>holds</em> your attention, because it always changes. The changes are subtle and gradual, but they make a huge difference. They aren't there for you to say "hey, this song DOESN'T sound all the same!" They're there just to make you puzzled and nervous.</p>

<p>In the end, it's the subtleties that make the piece work. I imagine it was a great soundtrack and worked wonders when "applied" to something. But, even in its own, it's quite brilliant. You have to be a patient listener to try to endure it (as in, "oh, Brian Eno's <strong>Music For Airports</strong> isn't all <em>that</em> boring"), but once you try it, you'll be hooked and won't let go. And judging by the intense aspect of the music, pressing 'stop' will be quite jarring. I don't know, I never tried it myself: but can you imagine a song that feels even <em>more</em> unnerving when you turn it down? Cool! Either way, get <strong>Carnage Visors</strong> and give it a spin. You may even want to listen to it <em>again</em>!</p>

<p>... Ok, right, the "album" goes unrated. But I don't know how I could rate this as an "album". It isn't even because of its length: it <em>isn't</em> an album, wasn't released as an album, doesn't sound like an album, and I think it's unfair to treat it like that. But anyway, consider this an A+.</p>

<p>Comments? Ideas? Suggestions for funny "mail me" messages? <a href="mailto:sirmustapha@gmail.com">Mail me</a>!</p>

<hr />

<h2 id="pornography">Pornography (1982)</h2>
<p class="medium">
  Best song: <big>A Hundred Years</big>
</p>
<div class="medium">
  Track list:
</div>
<ol>
  <li><span class="good">One Hundred Years ++</span></li>
  <li>A Short Time Effect <span class="good">+</span></li>
  <li>The Hanging Garden</li>
  <li>Siamese Twins <span class="good">+</span></li>
  <li>The Figurehead <span class="good">+</span></li>
  <li>A Strange Day</li>
  <li>Cold</li>
  <li>Pornography <span class="good">+</span></li>
</ol>

<p>Those who think <strong>Faith</strong> is way too sissy were probably looking for <em>this</em> album here. The band finally assembled together everything that takes to make a bloody big, Earth-shattering classic: depression, anger, sickness, hopelessness and angst - LOTS of angst - distilled into fourty-three minutes of music. You may think that's an exaggeration, since very few songs here are really that blatant and gruesome as such a description suggests: some songs are quieter, more toned-down. But the album is <em>far</em> more extreme than <strong>Faith</strong>, let alone <strong>Seventeen Seconds</strong> - and I'd go as far as to say that this is more extreme than everything the band <em>ever</em> did. Robert Smith is mostly known for his romantic, poetic ways of talking about melancholy and sadness, but <em>here</em>? <strong>Pornography</strong> is entirely black with darkness, red with blood and grey with dullness. There's not a single <em>drop</em> of light anywhere in here. This was the time when the tensions in the band were building, and when the drugs were taking over to the point where Smith hiself says he doesn't remember much of the album's recordings.</p>

<p>And what does that give <em>us</em>, in terms of music? Cool songs, that's what; and a very cool sound, too. <strong>Faith</strong> had that, too, and there's a factor here that prevents me from giving <strong>Pornography</strong> a rating as high as I gave that one: this dark, ugly, gruesome sound, the desperate, almost random lyrics results in an overall mood and atmosphere that's more distant and less tangible than what they did on <strong>Faith</strong>. Maybe it's before I've never been that depressed in my life, but I just can't <em>relate</em> to this album at all. I guess some people do, and I suppose there's nothing <em>bad</em> in this album that makes me feel like that. But <strong>Faith</strong> had that involving, engaging texture and a palpable mood that kept the whole thing together very well. Here, it's just the songs; and the cool production. It's not cool because it's <em>smashing</em>, but there's a peculiar quality about it: play it quietly, and it might sound like it's coming from the other end of a steel pipe; pump up the volume and it suddenly swallows you whole. That's already very clear from the first track, when you have that echoey, relentlessly fast electronic rhythm booming in. And within seconds, you're attacked by the growling bass guitar, the end-of-the-world keyboard strings and, of course, the unforgettable stinging, screaming, squealing guitar riff Smith pulls out of his guitar. Really, it <em>does</em> sound like a squeal of pain, and the song mostly speeds along two ugly minor chords; and when it <em>seems</em> like it's going to resolve into something brighter, it's just thrown back to the bottom of the well. It sounds like it's never going to end, until it just gradually loses forces and dies.</p>

<p>'One Hundred Years' is, basically, the album's defining moment. And while it might be a bit disappointing that no other song in the album reaches <em>that</em> level of "sonic nightmare", I think it's good, since that only increases its intensity. The other songs mainly try different ways of achieving a similar effect, be it with the silence of 'Siamese Twins' or the painful, chaotic attack of the title track. It's all chronic Cureism, really. I don't dislike any of the songs here; I'd say that 'Cold' is the weakest link, only because the dramatic, serious-sounding keyboard line that carries the whole song forward is a bit <em>too</em> silly to really affect me. It's not even because of the sluggishness, really: it's just over-the-top, even to the album's standards - and to <em>my</em> standards, mind.</p>

<p>The others are all fine and dandy. Favourites includes the almost martial 'The Figurehead', with the constantly interacting drum pattern and Simon Gallup's ever growling bass. And on top of that, Smith throws those mean, angry guitar lines. I don't even have to bother with whatever Smith is singing. Not that I think the lyrics here suck, or anything; it's the <em>music</em> that sucks me in completely. It happens likewise with the strange, shapeless 'A Short Term Effect', driven by the fluctuating bass line and the hazy, tuneless guitar noises. There's also this spooky echo effect applied to Smith's voice, which makes it slow down and collapse every time a line ends. There's no doubt these guys knew the right effects to apply to their music; I dare anyone to question that. But of course, what <em>really</em> matters is how well the effect works <em>in</em> the song, and in this case, it works perfectly.</p>

<p>'Siamese Twins' is also a highlight, pushing all the right buttons with its slow, punchy drum pattern and Smith's witty guitar riff. Since the song is quiet, Smith's singing is way up front on the mix, and that allows him to put a really good, convincing performance. You know, his incessant moaning and wailing in the other songs eventually gets monotonous, but in <em>this</em> case, it's nothing but very good singing. As for 'The Hanging Garden' and 'A Strange Day', I never considered them as highlights, but that doesn't detract from the fact that they are nifty. I'd say they are the most "poppy" here, or at least, the most accessible. The former has a fast rhythm, with Lol Tolhurst slamming his toms in an almost tribal fashion, and there's, of course, the growling bass. It's really very striking here. And 'A Strange Day' is slower, less intense, but also quite vague. It has that guitar riff, though not much more than that.</p>

<p>But then again, the intensity comes tumbling down again with the title track, which mixes in ugly, chaotic samples of speech and assorted noise. I like the way it simulates the "noise" inside a confused, desperate mind, and the feeling of being lost in a dark room. The ominous keyboard tunes and the primal percussion sounds add the final touch, and Smith's vocals put everything to a very appropriate end - that is, not having any end whatsoever. The noise just gets louder, swallows up everything in its way, and stops. It just means the cycle will start again soon, anyway. It's really an endless pit of anguish and pain, huh? Well, I suppose that's a very strong image to evoke, but it supports, once again, the main reason why I don't like this album as much as I should. It's true, but I <em>do</em> listen to <strong>Faith</strong> more often, but that's just a matter of style, right?</p>

<p class="ratingHeader">
  Rating:
</p>

<p class="rating">
  <big>Fun factor:  <strong>13/15</strong></big> - It's that <em>cool</em> sound that wraps you completely, you know? Great songs, too.<br />
  <big>Resonance:   <strong>12/15</strong></big> - The sound is cool, but that's pretty much it in the Resonance factor.<br />
  <big>Originality: <strong>13/15</strong></big> - Developing that cool "Goth" sound, right? It's a bit closer to Joy Division than before, though.<br />
  <big>Richness:    <strong>13/15</strong></big> - Like I said, great songs.<br />
  <big>Solidness:   <strong>11/15</strong></big> - The over-the-topness kind of spoils the feeling, at times.
</p>

<p class="ratingFinale">
  Total: <img src="images/12.png" alt="12" />
</p>

<p>It feels like a hundred <a href="mailto:sirmustapha@gmail.com">mails</a>...</p>

<hr />

<h2 id="whispers">Japanese Whispers (1984)</h2>
<p class="medium">
  Best song: <big>The Lovecats</big>
</p>
<div class="medium">
  Track list:
</div>
<ol>
  <li>Let's Go To Bed <span class="good">+</span></li>
  <li>The Dream <span class="good">+</span></li>
  <li>Just One Kiss</li>
  <li>The Upstairs Room</li>
  <li>The Walk</li>
  <li>Speak My Language</li>
  <li>Lament</li>
  <li><span class="good">The Lovecats ++</span></li>
</ol>

<p>Well, I'll be honest with you: I can't really explain this album. All I know
is that... well, it isn't really a proper album. It's a compilation of singles
from its time. But thing is, there was something making Robert Smith want to
write boppy, synth-happy, dancey "hip" songs for the masses. But isn't that,
like, the complete <em>opposite</em> of <strong>Pornography</strong>? Well, yep.
That's why I can't explain this album. The lyrical thematics and vocal
intonation haven't changed much - he's still moaning and groaning about obscure
things, but the <em>music</em>? Man, the <em>music</em>!</p>

<p>Seriously, folks: if you <em>are</em> used to the previous Cure records, and
you never heard this one, you'll have to suspend your disbelief <em>big
time</em> in order to imagine what this sounds like. This is 80's synth dance
music, kind of like Depeche Mode. Yes, like <em>that</em>. The production
changed from heavy and dense into light and airy; the menacing guitars and
keyboards are pretty much all gone. All you're left with are these electronic
drums, the <em>ultra-modern</em> synthesizers taking over, syncopated rhythms
and that's pretty much it. This is the very basic recipe for the songs in here.
And, really, I have a hard time trying to believe that Smith truly decided to go
big time into the commercial market. This isn't the same thing as Queen suddenly
coming up with <strong>Hot Space</strong> (though both albums don't sound too
distant from each other). This is <em>really</em> an odd move.</p>

<p>And like you might imagine, this record has flaws. The most glaringly obvious
one is its ridiculously short length: twenty-nine minutes! Look, I do appreciate
the shortness and compactness of <strong>Three Imaginary Boys</strong> and
<strong>Seventeen Seconds</strong>, but this is kinda too much. I suppose it's
because the band hadn't released too many singles, but still, it's a bummer. Try
not to pay full price for this album. And about the music... Well, guys, to say
it sounds horribly dated would be a display of generosity. The entire album has
that dodgy, buzzy, pingy-pingy sound that was probably TEH HAWT back then. And
the songs? Some of them are pretty good, in fact. But I, <em>personally</em>,
don't treasure this album too fondly. There are only a few songs here that I'd
salvage for a personal compilation, for example. And the overall sound of the
record doesn't grant this fella repeated listens. I don't know about
<em>you</em>, though: if you have a special fondness for this kind of music
(maybe nostalgia, or some 80's revival thang), or if you're a real hardcore Cure
fan, you'll want to have this. But if you're not seeking the entire Cure
catalog, I'd say "don't bother".</p>

<p>Say, songs like 'Just One Kiss' and 'The Upstairs Room' are not bad at all,
but I barely want to hear them again. They're just insubstantial, relying on a
sound that just doesn't work anymore. I guess this music is a true product of
its time, but should I judge it considering solely the historical and cultural
context of 1984? I don't think so, honestly. What matters to me is how good this
stuff sounds NOW - and time has worked against it, unfortunately. The case is
even worse with 'The Walk', but mostly because of that <em>awful</em> synth tone
they use to deliver that riff; a buzzy, sawtooth kind of sound that hurts on the
ears. The rest of the song isn't bad, but it's no masterpiece, either: yet the
truth remains that it would have been more pleasant without that sound. There's
also 'Speak My Language', that's really a bit too... <em>cutesy</em> for its own
good. You might notice that this "cutesy" thing is the beginning of that Cure
style of "cutesiness" that makes girls squeal, but do <em>I</em> like this? Not
much, to be honest.</p>

<p>The highlights, in my opinion, include the first two tracks. 'Let's Go To
Bed' is a dancey, heavily syncopated and rhythmic tune that <em>works</em>. That
sticky, laid back synth riff just totally fits the song, and the bass rhythm
that Simon Gallup keeps is truly priceless. Its B-side, 'The Dream', is an
onslaught of constantly battling, contradictory synth rhythms and riffs. It's
much less danceable, but it's a damn well written song. 'Lament' is the only
ballad in the album, and it's got that kind of bitter sadness that's very usual
of The Cure, but given the "airy" treatment. It's just strange to hear the Cure
playing the song like this... It's a good one, actually. It has a stingy, bitter
guitar line, which is just fine and dandy.</p>

<p>'The Lovecats' is easily my favourite, and mostly because it doesn't try so
hard to be "hip". It's fun without being "cutesy", and "weird" without being
over-the-top. With its music-hall-esque rhythm, it's awfully catchy and
intoxicating, especially with that great vocal hook after every chorus. It's
also an indication of that kind of image Smith would try to create in the
following albums: the classic ugly-as-hell Bob Smith with his legendary hair,
that little kids run screaming from, but that the Goth chicks find SOO HOTT. I
guess it <em>might</em> mean that Smith was, effectively, trying to turn into a
"celebrity". But, after all, would you rather have <em>this</em>, or Smith going
even further into the endless depress-o-rama of <strong>Pornography</strong>?
Could he even go any further down that road? I don't think so, to be honest.</p>

<p class="ratingHeader">
  Rating:
</p>

<p class="rating">
  <big>Fun factor:  <strong>11/15</strong></big> - Some pretty good stuff, I say.<br />
  <big>Resonance:   <strong>7/15</strong></big>  - This kind of music is pretty sterile, you know?<br />
  <big>Originality: <strong>10/15</strong></big> - Uhm...<br />
  <big>Richness:    <strong>11/15</strong></big> - It has the goodies, it sure has.<br />
  <big>Solidness:   <strong>9/15</strong></big>  - Ehh, it's a compilation.
</p>

<p class="ratingFinale">
  Total: <img src="images/09.png" alt="9" />
</p>

<p>Suggestions? Ideas? Comments? <a href="mailto:sirmustapha@gmail.com">Speak my language</a>!</p>

<hr />

<h2 id="top">The Top (1984)</h2>
<p class="medium">
  Best song: <big>The Caterpillar</big>
</p>
<div class="medium">
  Track list:
</div>
<ol>
  <li>Shake Dog Shake</li>
  <li>Bird Mad Girl <span class="good">+</span></li>
  <li>Wailing Wall</li>
  <li>Give Me It</li>
  <li>Dressing Up</li>
  <li><span class="good">The Caterpillar ++</span></li>
  <li>Piggy In The Mirror <span class="good">+</span></li>
  <li>The Empty World</li>
  <li>Bananafishbones <span class="good">+</span></li>
  <li><span class="good">The Top ++</span></li>
</ol>

<p>Now here is a fun album that I learned to like. Not that I like <em>all</em>
of it, but my feelings did improve towards this album. This is really a case in
which that kind of "distant" listen doesn't tell me much about an album. When an
album doesn't really <em>tickle</em> my mind in a few listens, I feel
progressively less motivated to pay a lot of attention to it. But eventually,
something clicked here, and I realised the album is very solid and quite
involving. But you're not willing to read <em>that</em> kind of talk, are
you?</p>

<p>Like I said, I don't think Smith could have kept up with the wrist-slitting
festival of 1982 for much longer, not even if he tried. So, the only thing he
could do was change, and that he did. <strong>Japanese Whispers</strong>, that
was released before this one, can't be used as an example of that change, though
- and it <em>wasn't</em> a sign of the kind of stuff he was willing to do.
<strong>The Top</strong> is the real sequel to <strong>Pornography</strong>, and
I <em>do</em> mean "sequel", even though both albums sound pretty different. It
isn't a difference like what you've seen between <strong>Faith</strong> and
<strong>Pornography</strong>, that was just Smith switching to a different
"sound" to deliver his material. What happened here was almost like he
deconstructed the "Cure sound" completely and rebuilt it, using a huge palette
of different sounds, influences and mindsets, instead of the usual "black and
red". There is a bit of the "synth dance" of the singles, but it isn't there to
make the album "hip". Smith isn't going down the commercial route here, not at
all - it's like he was actually separating the "commercial" approach from the
"artistic" approach, reserving the former to the singles and unleashing the
latter on the Cure's LPs.</p>

<p>And the attempts of achieving "artistic" diversity and accomplishment are so
big that it's damn near overbearing at times. Smith insists on putting his nose
on as many styles of music as he can - not necessarily "tackling" different
styles, but picking them up and throwing them against the canvas. And this time,
here, I talk about <em>him</em> specifically because he <em>is</em> the big
responsible for most of the album, both in composition and in playing. Lol
Tolhurst also collaborates, but it seems the album really is the brainchild of
Smith. At this point in history, we can say that this album was a good idea -
after all, this big stylistic change would lead to greater future successes, and
though the band kept going back to their "gloomy" style, they were able to do it
in different ways. And this album is here to show that there <em>wasn't</em> an
attempt at "shaping" the band to one specific kind of sound and sticking with it
until time was through. It could have been easy for Smith to keep up with the
<strong>Pornography</strong> formula for a few more years, let's face it. But
Smith had other plans in mind.</p>

<p>As such, this can be called a "transitional" album, and as you might expect,
there <em>are</em> flaws, since the transition wouldn't be complete until the
next album. The main flaw, at least to <em>me</em>, is that these attempts at
variety are too blatant and headlong. And in the middle of the album, you'll
face stuff like 'Wailing Wall', in which Smith takes these Easternish elements
and... just leaves them there, going on and on. What <em>is</em> the artistic
statement here? It's more like he had to give an Eastern feel to that bit of the
album, so he went towards something obvious. There isn't a clever or creative
use of those elements; it might sound spooky and/or haunting, and I think it
<em>does</em>. There just isn't any special <em>thing</em> that makes it into a
genuine <em>Cure Classic</em>.</p>

<p>On the other hand, that "spooky and/or haunting" thing is what makes the
album work. It's not a "scary" album, but the production of the album gives it
a very intoxicating, affecting sound and aura. And since all songs share that
aura, they kind of belong together and <em>go</em> somewhere. And it's not the
same mood all the way through - it becomes milder at times, more aggressive at
others, but the feeling remains. It's <em>nifty</em>. When I let the album truly
suck me in, with its eerie, mysterious aura, I realised that it works, indeed.
The song quality varies, it's true, but the ride is made less bumpy because
there is an overall vision on the album. And it's not a "OH MY GOD IT HURTS"
vision - no. It's strange, weird, vague and open to interpretation. And it has
to do with drugs. At times.</p>

<p>Not that I'm making assumptions, but songs like 'The Caterpillar' and the
title track have something to do with the stuff. But does it matter, really?
It's all about the music, in my opinion. And we have several great tracks here.
Yeah, we have the weaker ones, too, and they happen to be mostly on side A.
'Shake Dog Shake' starts the album off with a heavy, slow, pissed-off groove,
somehow delivering a more <em>abrasive</em> kind of feeling compared to
<strong>Pornography</strong>. Problem is that it goes on for a bit too long,
just repeating itself. And since there's no crescendo, it seems to lose power
as it goes. 'Give Me It' is a faster, louder attempt at "metal", or whatever
Smith was trying to do. But can you imagine these guys putting out "metal"?
Maybe it's the production, but it sounds a bit too whiny to me, and also goes on
for a wee bit too long (even though it's but three minutes long). On the other
hand, 'Bird Mad Girl' is a brilliant, well-written groove with Flamento touches
and small, but effective hooks. But I guess the best thing is how it shows they
are able to create that great, syncopated, groovy rhythm - quite a difference
from the electronic "dance" beats in <strong>Japanese Whispers</strong>, let
alone the frozen, quasi-martial rhythms of <strong>Pornography</strong>.</p>

<p>Well, I don't even know why I insist in bringing up
<strong>Pornography</strong> in this review, now that I made it clear how little
is has to do with this LP. If you need more differences, let's flip the side and
talk about these other five tracks. 'The Caterpillar' and 'Bananafishbones' have
something in common: both start dark, scary, almost downright
<strong>terrifying</strong>, but suddenly dissolve into something completely
different. The former has those "running" descending pianos and dissonant fiddle
scraping, before the Latin rhythm takes off and becomes a gorgeous, wonderful
song that's reasonably bright and joyous, while retaining all of that Cure
mystery and charm. And 'Bananafishbones' stomps slowly and heavily, with
screaming organs, before it turns into a groove that can be called "dorky", even
though it wouldn't make true justice to the song. It's just strange and twisted,
while <em>still</em> retaining all of that Cure mystery and charm. Also kudos to
'Piggy In The Mirror', that's as close as it can get to perfect "pop" Cure,
angry and bitter, but catch-a-lots.</p>

<p>One thing Smith overdoes a <em>little</em> here, in my opinion, is the "cute"
factor. Take 'Dressing Up', with its slow, "synthy" groove, pan flutes and
whatnot. Does it retain all of that Cure mystery and charm? Maybe. 'The Empty
World' has a martial rhythm and more of those flutes. At least they're not
overlong. Oddly enough, the title track, which clocks almost up to seven
minutes, is nowhere near overlong to me. After all, its biggest appeal is the
dark, ominous, hypnotising atmosphere they create with that awesome, beautifully
frightening dissonant bass line. There's also that beautiful electric piano
sound they found, which fits the song like a glove. It's a damn near perfect
composition, meant to build on top of itself until it starts becoming stiff. It
closes the album on a very high note, too. It's true, maybe side B outshines
side A, but it's also true that the overall sound and atmosphere makes even the
weaker songs enjoyable. When the "song factor" is ignored, the album becomes
solid and very good. I wouldn't recommend this album to those who are still
sucking on the "sad" Cure. Those who are searching variety, though, are welcome
to try this one. There aren't many "classics" here, but the album is still worth
a listen.</p>

<p class="ratingHeader">
  Rating:
</p>

<p class="rating">
  <big>Fun factor:  <strong>13/15</strong></big> - Better than the sum of its parts. Um... yeah.<br />
  <big>Resonance:   <strong>12/15</strong></big> - It's got that <em>strange</em> flavour. Not <em>weird</em>, but strange.<br />
  <big>Originality: <strong>11/15</strong></big> - This might mean an advance to the band, but not much more.<br />
  <big>Richness:    <strong>13/15</strong></big> - Good music, mostly!<br />
  <big>Solidness:   <strong>12/15</strong></big> - It works, at least enough to earn a blue rating.
</p>

<p class="ratingFinale">
  Total: <img src="images/12.png" alt="12" />
</p>

<p>Give Me [a]It[/a].</p>

<hr />

<h2 id="door">The Head On The Door (1985)</h2>
<p class="medium">
  Best song: <big>Push</big>
</p>
<div class="medium">
  Track list:
</div>
<ol>
  <li>In Between Days <span class="good">+</span></li>
  <li>Kyoto Song</li>
  <li><span class="good">The Blood ++</span></li>
  <li>Six Different Ways <span class="good">+</span></li>
  <li><span class="good">Push ++</span></li>
  <li>The Baby Screams <span class="good">+</span></li>
  <li>Close To Me</li>
  <li>A Night Like This <span class="good">+</span></li>
  <li>Screw <span class="good">+</span></li>
  <li>Sinking <span class="good">+</span></li>
</ol>

<p>Well, so <em>this</em> is what Smith was up to all along! That <strong>The Top</strong> thing, it was no experimental artistic statement not at all! It was a mere training for this <em>happy commercial pop sell-out</em>! What a bastard! Cure fans should have guessed. Did they guess? I don't know. What I know is that this is pretty much the beginning of the "Cure" image we all know so well: not only in his appearance, legendary hair and everything, but also in his style of making deceptively happy radio-friendly singles which <em>do</em> sound happy on surface, but probably hide something darker below the surface. Yeah, this is the album with 'Close To Me', 'In Between Days', and also other more obscure things like 'Six Different Ways'.</p>

<p>What you should know, before you put your hands on this album, is that it's the definitive departure from the Cure of <strong>Pornography</strong>. Yep, definitive departure. All their "melancholic" work from here on would take another shape, another form, and a fairly different substance, too. And yes, they <em>would</em> adopt that attitude very, very, very often later on. But <strong>The Head On The Door</strong> might as well be their "merry" album, you know, in comparison with the others. I just have no idea whether I should consider it as their "lightweight" pop release, or as a Cure album like every other, with messages of sadness and melancholy everywhere. See, Smith has a way of confusing me, and making me unable to determine whether there <em>are</em> things hidden behind the rich, bright arrangements and production of these tracks, or if there is no pretension at all. And I'm careful with the things I say, especially in a Cure review. I don't want to get in trouble with Cure fans, you know.</p>

<p>So, let's get down to the basics. This would be a good record for the "uninitiated" to begin with. There's a lot of good music to digest here, plenty of "essential" Cure songs, <em>and</em> it's representative. In my case, there's just a bit of that "mental glue" in it, and as a result, it's not one of the first albums I think of when I think "The Cure" - which is not the case with <strong>Faith</strong> and <strong>Disintegration</strong>, for example. But you know, the competition is tough. This album has got good (even great) tracks, but it lacks that certain unity and cohesion. Some would consider it "variety" and count it as a plus, but when it comes to <em>The Cure</em>, I value cohesion a lot more. There isn't that overall "vision" that made <strong>The Top</strong> work, you know? But this album manages to match <strong>The Top</strong>, and it's because of the <em>songs</em>. Yes! The songs! I've already mentioned the word "songs" in this review quite a lot, and I haven't even <em>talked</em> about a goddamn song! Well, sir, if you want me to list the songs and write "good", "bad", "good", "awesome", "classic", "horrifying" next to them, I can do that. But I <em>won't</em>. I like writing, and I will <em>write</em> here.</p>

<p>Though, well... I need to admit something here. Yes, allow me to make a confession. I really write a lot, you know. I have a way of laying thoughts in the form of words as I go, and I do it often. But, as hypocrite as it might sound, I don't like reading. Generally, when I have an immediate <em>need</em> to read, I don't mind it. But I'm not the kind of person who sits down and says to himself, "what a nice day! This is the perfect time for me to read a book," and then sits down and reads for pure pleasure. I'm not at all like that. Most times (and I mean 90%) when I sat down with a book to read, I had to stop a few pages on. I find it tiresome, and... well, I was <em>educated</em> to hate reading. School gave me too many terrible experiences with books, and I think I need something to get over that trauma. And I haven't found that something yet. It's sad, really.</p>

<p>Now, listen to music: <em>that</em> I can do! What album am I reviewing again? Hm... oh! <strong>The Head On The Door</strong>, of course. Did I mention songs? Right. Hmm, I should say... 'Close To Me' isn't one of my favourites. And knowing that it's a quite catchy and nice song, it might mean the other songs are really good! And they are! 'Close To Me' is still one of the most famous songs in here, though. And it <em>should</em> be. That's what it was made for. It's got a snappy and fast rhythm, friendly and plinky synthesizers, and Smith's "seductive" vocals. Is it too "happy" for the Cure standards? I know I don't care. I'm not <em>a fan</em> of the song, though. I enjoy it, but I don't love it. There are better songs here! Still in the poppier, happier part of the album, there's 'In Between Days', which <em>is</em> a classic. It counts on a full band performance, with full-throttle drums, hyperactive bass guitar and fast acoustic guitar strumming. The result is an energetic pop song with a <em>heck</em> of a catchy synth line and great performance by Smith. Of course, in his lyrics, he goes on something completely different from what the song suggests. What <em>is</em> he on about? Hard to tell, but it doesn't sound all that happy. It's not <em>depressing</em>, either: to me, it's just Smith being "mysteeeeerious", the way he likes to be.</p>

<p>There isn't a whole lot more "pop" here, but the album still keeps a few weird things like 'Six Different Ways'. Once again, it's the Cure being "cutesy", but without fear of showing it. You have these plinky music-box-like sounds, happy piano and keyboard and those synthesized (I suppose) pan flutes going up and down all the time. Oh, yes, and it ends abruptly. Ain't that HAPPY? How cute! How CuRte! Yeah, but if we're talking about weird, we'll have to talk about 'The Blood'. Remember how 'Wailing Wall' was Smith trying to bring in "ethnic" elements into his music? Well, 'The Blood' is the same, but it works! This time, Smith had the great idea to combine Flamenco with slightly Easternish melodies. The result is a heck of a song with a strong, pumping rhythm and great guitar work. One of the best here. I suppose 'Kyoto Song' tried to find other influences, too, putting them in the shape of a quiet, mysterious ballad. Not one of the best ballads they ever put out, but solid still.</p>

<p>There's a lot more. 'Push' is my favourite, a wonderfully beautiful not-so-pop song, keeping the tradition of letting the vocals in only halfway through the song. It's fast, with electric guitars aplenty, and major key. It even has a nifty descending guitar line thing before the two "parts" of the song. 'A Night Like This' is also a sort of classic, very pounding and dramatic, with all of those unique Cure elements coming together into one great package. Very memorable and striking. It even has a sax solo at the end. 'The Baby Screams' isn't really a classic, unfortunately. It's very good! Very dancey and very gloomy, with all those different layers of instruments dialoguing at the right moments. Smith puts his voice to <em>very</em> good use here, with one of his best squeals ever (remember that he still wasn't a squeal addict).</p>

<p>The album ends with two more surprises. The first one is the Cure going <em>funkay</em> with 'Screw'. Yeah! It's true! And it's not that kind of "goofy" stuff like we'll see in the next album. It's cool, with a heck of a distorted bass riff! Honest, it's a great song. The second surprise is the poignant and solid ballad 'Sinking', which I think is made <em>especially</em> poignant given the variety of the album. But it's a very well written and well performed song, yes. Who am I kidding? That's the case with all songs here. They are all flawlessly performed and very well written. The whole album is intelligently produced, too. Here, the intention of the production wasn't to try to create a unique, palpable "sonicscape", like with the "Goth era" Cure albums. The idea here was just to make everything sound clear and interesting. The sound makes <em>sense</em> here - in a purely musical level, that is. If you're considering the lyrics, or the mood, you're probably going to get lost. But with music like this, the Cure can make their lyrics even more ambivalent than they already are. And ambivalence, in this case, works wonders to make the album more "accessible". In this case, "accessible" means "easily digestible at first listen", without sacrificing musical content and profoundity at all. This album deserves repeated listens. Remember that, for the Cure, "accessible" doesn't mean "teen pop". Not until the 90's, that is.</p>

<p>Kidding, of course. Well, partially. I hope you understand me. You probably don't.</p>

<p class="ratingHeader">
  Rating:
</p>

<p class="rating">
  <big>Fun factor:  <strong>13/15</strong></big> - Very nice songs! Very nice stuff.<br />
  <big>Resonance:   <strong>11/15</strong></big> - Do they lose something with that little "change"? Maybe a little, but it's hard to tell exactly <em>what</em>.<br />
  <big>Originality: <strong>13/15</strong></big> - Who else can do pop the way these guys do?<br />
  <big>Richness:    <strong>13/15</strong></big> - Yep. Sure as heck.<br />
  <big>Solidness:   <strong>12/15</strong></big> - It's all pretty in place. Not enough to be a masterpiece, but does it need to?
</p>

<p class="ratingFinale">
  Total: <img src="images/12.png" alt="12" />
</p>

<p>Go ahead! <a href="mailto:sirmustapha@gmail.com">Mail me</a>!</p>

<hr />

<h2 id="me">Kiss Me Kiss Me Kiss Me (1987)</h2>
<p class="medium">
  Best song: <big>If Only Tonight We Could Sleep</big>
</p>
<div class="medium">
  Track list:
</div>
<ol>
  <li>The Kiss <span class="good">+</span></li>
  <li>Catch <span class="good">+</span></li>
  <li>Torture</li>
  <li><span class="good">If Only Tonight We Could Sleep ++</span></li>
  <li>Why Can't I Be You? <span class="good">+</span></li>
  <li><span class="good">How Beautiful You Are ++</span></li>
  <li>The Snakepit <span class="good">+</span></li>
  <li>Hey You</li>
  <li><span class="good">Just Like Heaven ++</span></li>
  <li>All I Want</li>
  <li>Hot Hot Hot</li>
  <li>One More Time <span class="good">+</span></li>
  <li><span class="good">Like Cockatoos ++</span></li>
  <li>Icing Sugar <span class="good">+</span></li>
  <li>The Perfect Girl</li>
  <li>A Thousand Hours</li>
  <li>Shiver And Shake <span class="good">+</span></li>
  <li>Fight</li>
</ol>

<p>It's double album time!... What? Robert Smith has <em>just</em> began making catchy poppy happy little tunes, and he's done a double album already? Yep, that's right. Don't ask me why or how, though. Perhaps Smith was really inspired by this time, or he prepared himself to deliver a longer package this time around. Or maybe the truth is that when you are in a band and you don't know quite what to do next, the best move is to issue a double album. This way, you can just say that you are trying to be diverse and comprehensive, and nobody will accuse you of repeating yourself. That's just a wild guess, of course. I'm not in a band, anyway.</p>

<p>What happens here is that Smith shoots his songwriting machinegun everywhere, and he doesn't seem to bother whether he hits or misses. There's a lot of pretty whacky stuff here, and if he still didn't try to mantain his gloomy image in several songs here, I could even say some of this album is humourous. Perhaps it <em>is</em>, but he is using that humour for gloomier purposes. Or maybe he's just a moron. Or maybe the band just wanted to do something different, and that's pretty cool. You know, I can't see the band trying to "choose" a path to follow among these tracks. To me, they <em>already</em> had a path to follow, and wanted just to try other possibilities. It works fine. The band had a lot to show, and even though not <em>everything</em> here works fine, a lot of fine songs are achieved in this album.</p>

<p>As you can judge by the title and by the cover, a lot of them have to do with weird, wild love affairs Smith may or may not have had. And I hope he <em>didn't</em> have them, because there's so much talk about kissing, killing, poisoning and torture here that it's unhealthy even to the biggest paranoia-men out there. Of course, it doesn't really sound <em>sincere</em>, but I guess that doesn't hurt the album. These songs and lyrics are here not to express the singer's pain. They are here to symbolise pain, and it's up to the listerer's consciousness to decide whether to relate to it or not. It's not ridiculous to relate to these songs, I say. They are very well done, and they avoid dangerous grounds because they <em>are not</em> sincere. <strong>Pornography</strong> probably was sincere, because it talked directly about the band's problems with drugs and such. But the heavy, exaggerated sound of the record almost made it sound <em>not sincere</em> when it was. These fucked up romantic sounds aren't sincere, but they are effective. And that's good, because I always have fun hearing fucked up romantic songs. Well, not always, as you will see here. Some songs here are majorly annoying, but I wouldn't call any of them bad. They are just annoying. See, the band achieved a very, very full and powerful sound here: the drums always boom and bang loudly, the guitars often sound more aggressive than before, Smith's vocals occupy about half of the mix, and all the empty spaces and holes are occupied by growling bass or stringy, dramatic keyboards. There are variations on that sound, naturally, but sometimes, it goes overboard. The best places to look for that, in my opinion, are 'Torture' on side one and 'All I Want' on side three. The former is not that bad, really. It has a kind of fast, <em>very 80's</em> dancey sound, minor-key and pretty dramatic, and features mostly Smith with his voluminous voice. It's annoying mainly because it's so long, you see. 'All I Want', on the other hand, is equally long (it isn't, but it <em>feels</em> equally long), but sluggish and more dramatic, and Smith's lyrics and singing are way more annoying than before. That's easily my least favourite track on the record.</p>

<p>Fortunately, they are only two. The rest of the album is goodie goodie. Some of you might think that two records with eighteen Cure songs, all in a row, might be a tad cumbersome. But think about it: the album isn't really all <em>that much longer</em> than the CD version of <strong>Disintegration</strong>, for example. And there are more songs, meaning more variety. Personally, I get along fine with it (though I listen to the LP version of it, which gives me the benefit of breaks between the four sides). Maybe the complaints are against Smith's vocals, which get monotonous and repetitive. Well, he spends most of the album howling, whining and bitching like he almost always does. But his voice is unique, and I have liked it a lot so far. And surprisingly, he doesn't fill up the whole record with singing: many songs here follow that famous pattern of being entirely instrumental for a long while, and only receiving vocals halfway through. The song stablishes itself firmly with all the instruments, and Smith makes his voice sound like just one more instrument - with a couple of exceptions, like 'Torture', and some others. But this isn't <em>Smith's album</em>, you know. The band is constantly pulling off nifty tricks from their sleeves: be it a nifty guitar (or bass) line, a riff, a keyboard pattern, a lovely melody, an enchanting atmosphere, or whatever, there is always something fun going on. Most of the songs I didn't mention yet range from good to great, with only a few relatively weak ones mixed in for good measure. And I don't bother about that: this is a double LP, not a tight, compact masterpiece like <strong>Faith</strong>.</p>

<p>So, yes, the only way to talk comprehensively about this album is to mention the songs. And several songs here are more than worthy to be mentioned. For example the opening track, which gives the album its name. I don't remember any other Cure song that sounds like it. Smith sings only a few lines at the end, and I'd daresay that the instrumental track <em>is</em> the biggest highlight of the song - mostly that guitar squealing and yelling, like it was going to jump out of the speakers and start gnawing on your neck at any time. The rest is just sparse drums and bass, giving it a bit of rhythm, but leaving the guitar mostly hovering around, and the stringy keyboards, naturally. It's one heck of an instrumental work, and the only other song here that can challenge it in terms of cleverness and energy is 'Icing Sugar', I believe, which features restlessly stomping tom-toms and a disco-ish jumping bass. The band also brings a couple of slower, more atmospheric showcases, one of them being my favourite song on the record, and one of my favourite things the Cure has ever done. 'If Only Tonight We Could Sleep' is gorgeous, featuring a few "Easternish" instruments and sounds, but the whole magic isn't just that sparse percussion or the sitar: it's the whole combination of ominous sound and melody, and the way it builds. It captivated me right since the very first time I heard it, and it still captivates me. The other highlight in that aspect is 'Like Cockatoos', which features, among other things, a haunting sound like dozens of marimbas over the waves of the sea. It just don't know what it is, but it's great. And the rest of the song is brilliant as well, with a guitar riff that's neither too ominous nor too weak. There's another one, but I hesitate calling it a "highlight". Not because I don't like it (I do), but because it's not really a "favourite" among most people. 'The Snakepit' succeeds in creating a jungley, creepy sound with percussion, guitars and subtle bass lines, but it's <em>really</em> lengthy. Puts off many a people, I believe, but I don't bother about the length. And the song itself is more than fine. There isn't much of a melody, but like I said, it's all about that sound the band creates.</p>

<p>There are more "regular" songs here, as well, and some of them are just brilliant. 'How Beautiful You Are', with lyrics reportedly inspired by Baudelaire, is gorgeous - not only lyrically, with a beautifully sad lyrical twist, but <em>especially</em> musically. I find it to be some kind of predecessor to the hit single 'Lovesong', but I like this one much more. It has a rich, beautiful sonic fabric of keyboards, pianos, violins and such. On the more commercially-successful side, you can find 'Just Like Heaven', the first in what would be a series of "fast love tunes". Not only first, but best, in my opinion. The song has something delicate and original about it that they just would never be able to immitate truly. And there are others that, er, aren't quite 'pop', but are nifty somehow. 'Why Can't I Be You' sounds just like Prince. Yes, yes, I know <em>everybody</em> says that, but it's true! And there is no other way I can describe this song efficiently. It's like Prince. It's catchy, and at least, Smith isn't <em>trying</em> to be Prince. He's being himself. And it's quite fascinating that Smith is able to transform what on surface sounds like average romantic ode to a woman into an anthem of almost unhealthy obsession with a simple phrase: "Why can't I be you?"</p>

<p>'Hot Hot Hot' takes the band into the territory of "dorky white funk", with Smith throwing a performance filled with whacky vocal acrobatics. The lyrics seem to deal with experiences with drugs in a very symbolic way, but for some reason, I just find the song funny. And no, I'm not bothered with finding a Cure song "funny". I know some people simply don't like the song. I, on the other hand, like it for being funny. Works for me. There isn't much more that's funny here, but there are more of those strange, whacky songs here. 'Shiver And Shake' is Smith being "angry", kind of like 'Give Me It', but with less of that dorky pseudo-metal schtick and with a faster rhythm and more convincing energy. 'Fight' is slower and more dramatic, and, well, I don't see much in it. It's an odd set of lyrics Smith is singing, considering the whole tematics of his work, but it doesn't do <em>all that much</em>. Not a very good album closer, to be honest. My LP version happens to include a song that was ommited from the CD version. 'Hey You' is short, but also falls in that "whacky" category. It's nothing special: just a little fast rave-up, not too far in spirit from 'Why Can't I Be You', but with real brasses, a sax solo and very, very few lyrics. I wouldn't recommend you to buy the LP only for that song, but if you only have the CD version, try to catch it. Just don't think you're missing a whole lot. It's the only song that's missing, fortunately.</p>

<p>Ballads? Oh, yes, we have ballads. 'Catch' is the nicest, gentlest of them all, and maybe for that happens to be one of the best. It's got soothing keyboards, a light pop rhythm and a fine melody. 'One More Time' is way more dramatic, slow and with that peculiar 80's kind of guitars and keyboards filled with reverb. Somehow, I really, really like it. It isn't anything spectacular, but its pretty sound does a lot to me. It's very nice. Only those tunes on side four don't do a whole lot to me. I used to like 'The Perfect Girl' a lot more, but it doesn't have a lot of stuff going for it, really. At least it's short. 'A Thousand Hours' is nice, though: a slow, gentle tune that happens to be something of a predecessor to 'Plainsong', from the following album. But this time, the song in this album is way inferior: if only because 'Plainsong' is nothing short of spectacular.</p>

<p>I happened to mention all songs in here. Well, that was necessary. All songs here are meaningful and important, to some extent; yes, maybe even 'Hey You'. But remember that I don't recommend you to hunt the LP version <em>just</em> for that song. I think they made the right decision in cutting out <em>that</em> song, not because it's the worst of the lot, but because it's the least significant. Even 'All I Want', which I barely can stand, is important to the scope of the album. 'Hey You' is the right transition between 'The Snakepit' and 'Just Like Heaven', but I doubt it's much more than that. Anyway, having the LP version or not, you're not obliged to like every track in here. As a fan, though, you're probably obliged to have the album and, at least, <em>understand</em> the songs, their existance and their presence here. <em>And</em> you'll have to give the album at least one chance. To use an annoying clich&eacute;, there's more than meets the eye.</p>

<p class="ratingHeader">
  Rating:
</p>

<p class="rating">
  <big>Fun factor:  <strong>13/15</strong></big> - There's plenty of stuff here. Most of it satisfies.<br />
  <big>Resonance:   <strong>12/15</strong></big> - Very good atmospheres and stuff. Not a lot of sincerity, but does that matter?<br />
  <big>Originality: <strong>13/15</strong></big> - Well, this is <em>The Cure</em> and nobody else, you know.<br />
  <big>Richness:    <strong>14/15</strong></big> - There's always something going on, man. Always!<br />
  <big>Solidness:   <strong>12/15</strong></big> - Um... it holds up well enough, but <em>just</em>.
</p>

<p class="ratingFinale">
  Total: <img src="images/13.png" alt="13" />
</p>

<p>I can't make a pun with the album title, so just <a href="mailto:sirmustapha@gmail.com">send me your comments</a>.</p>

<hr />

<h2 id="disintegration" class="best">Disintegration (1989)</h2>
<p class="medium">
  Best song: <big>Fascination Street</big>
</p>
<div class="medium">
  Track list:
</div>
<ol>
  <li><span class="good">Plainsong ++</span></li>
  <li><span class="good">Pictures Of You ++</span></li>
  <li>Closedown</li>
  <li>Lovesong <span class="good">+</span></li>
  <li>Lullaby <span class="good">+</span></li>
  <li><span class="good">Fascination Street ++</span></li>
  <li>Prayers For Rain <span class="good">+</span></li>
  <li>The Same Deep Water As You <span class="good">+</span></li>
  <li><span class="good">Disintegration ++</span></li>
  <li>Untitled <span class="good">+</span></li>
</ol>

<p>Wow! What happened? Suddenly the Cure gets together and delivers a totally, absolutely <em>balanced</em> album, where nothing goes over-the-top or misses the point? Where sound and music merge into a perfect, breathtaking package? Where Robert Smith finds the key to deliver true melancholy and sadness without sounding in-your-face or fake?</p>

<p>Well, stop looking at me with such puzzled faces, because <em>this</em> is the real culmination of everything The Cure always tried to be. Their carreer was truly building up to <em>this album</em>, even if it did deliver some smaller gems along the way. Everything I said in the first paragraph is <em>true</em>: The Cure do sound all that good in this album. Not only do they sound truly good, but they sound... somewhat different. This is not The Cure of <strong>Kiss Me Kiss Me Kiss Me</strong>, <strong>Pornography</strong> or <strong>The Head On The Door</strong> This band sounds... mature, and full-fledged. They surely knew where they were going, and looking back over their shoulders, they recognise their flaws and past mistakes, and do their best to avoid them.</p>

<p>I'm not saying this is a perfect, fantastic, spectacular album the way <strong>Dark Side Of The Moon</strong> or <strong>Amarok</strong>, or even <strong>Equinoxe</strong> are. But just because an album can hardly compare to such masterpieces doesn't mean that it doesn't deserve a big 10. This album truly speaks to me in a way no other Cure album ever spoke, and it surely strikes me in a way no other album I own does. Is it Gothic? I'm not sure. You see, it nags me that Robert Smith said The Cure were <em>never</em> a Gothic band, because this album is very, very close to the Gothic philosophy, at least closer than <strong>Pornography</strong> is. This album is sad and gloomy, but this time, Smith treats the matter with a certain delicacy and kindness, truly transforming it into a thing of beauty, both in lyrics and in music. It's not a sick, suicidal album anymore: it's a <em>beautiful</em> artistic statement, however sad and melancholic, as opposed to <strong>The Head And The Door</strong> - that sounded too ironic and sarcastic with its "happiness" - and <strong>Kiss Me Kiss Me Kiss Me</strong> - that sounded like it was high on sugar at times. This one has a sad, mellow cover, a dramatic title and... well, the music matches it pretty well. Perhaps the cover and title, and song titles might be a little misleading, in fact, what with some songs being named boringly like 'Plainsong' and 'Lovesong' and 'Untitled' in a "wow, they're so bored and depressed that they didn't even bother naming their songs properly" (even though titles like "Untitled" seem to be very popular among the fans of Gothic poetry, but I may be wrong). It isn't even sad sometimes. Some of the songs sound light, and almost <em>joyous</em> at times.</p>

<p>See, when I first put this record on, I was quite surprised to hear light, charming songs that didn't make me want to commit suicide (it was the first Cure record that I ever got, so I expected to hear <strong>Pornography</strong> in it). 'Plainsong' begins with mysterious, gloomy chimes, but soon you hear those soaring, gorgeous major-key synth chords and a slow, spacey drum pattern that truly brings you to outer space to fly among the stars and planets (pretending there is air and atmosphere in outer space, otherwise you'd just explode in the vacuum). It settles that glorious synth theme, and a beautiful guitar line in a twangy-twangy tone that the Cure would use very, very often from then. And later come in Smith's vocals, but he sings in a lower register, and his vocals echo and bounce away vaguely... You mean, he's not moaning and ranting like on <strong>Kiss Me Kiss Me Kiss Me Kiss Me Kiss Me Kiss Me Kiss Me Kiss Me Kis</strong>, though they're still following the pattern of letting the instruments come in first, and <em>then</em> let Smith's voice come in, like it was an actual instrument.</p>

<p>After the gorgeous, inspiring introduction, we're taken to the big tour-de-force of the album, and one of The Cure's most famous and symbolic songs ever: 'Pictures Of You'. And what's to be said about that song? It's slowish, with echoey spacey drums, but the entwined guitars work lovingly and gracefully, embellished with a synth faintly, gently pulsating somewhere. And the effect is amazing. The instrumental introduction to the song is, in fact, genuinely <em>emotional</em>, at least to me. Smith's voice is just perfect for the song, and you don't even wish it would be over. Easily one of the group's finest compositions, this is. The following 'Closedown' initially almost sounds like the same song, but it does stand out with its more "Earthly" tom-tom rhythms (much slower than 'Icing Sugar' and 'The Hanging Garden', though), the beautiful main synth theme and more twangy-twangy guitars. Notice how the transition from "Heavenly" to "Earhly" was done flawlessly!</p>

<p>After that one, indeed, the album gets much more "Earthly" and serious. Oddly, 'Lovesong' has the nicest, most joyous lyrics here (Smith wrote them to his wife), but the sound is considerably more sad and alarming than what came previously. Still, it became one of the band's best selling singles ever. It's probably a true "pop" composition, and like I noted in the previous review, noticeably similar to 'How Beautiful You Are'. 'Lullaby' sounds much grimmer and angstier, with a synth string theme and <em>more</em> twangy-twangy guitars, but they sound dark here. Smith's lyrics are about being eaten alive by a spider-like creature - and though it sounds scary here, his lyrics are... er, a bit silly, especially if you have something or two against Smith. But the song itself is good enough to stop me from making fun of the lyrics. They aren't there to be made fun of, really. Who knows how it feels like to be eaten alive by a spider man? 'Fascination Street', on the other hand, has absolutely nothing silly on it. And it's fantastic enough to make me rate it as the best Cure song so far, if not the best ever. It's truly grim and angry, and <em>faster</em> this time, with a grumbling bass line, and <em>several</em> layers of guitars and synthesizers, creating a truly palpable, awe-inspiring fabric of sound. And the song grooves and fumes like mad, giving way for Robert Smith to sing like he's truly angry and filled with energy. Ooh, how unbelievably cool.</p>

<p>It's the atmospheres that strike me here, and that make the album truly stand out. If there is one thing that I could complain about the Cure of the past, is that their songs were never <em>really</em> filled with texture and atmosphere. Remember how I said I liked <strong>Faith</strong> because it did have texture and atmosphere? Well, this one is tons better than that one, in this department. The songs truly make you <em>feel</em> something... Not depression, not pain, not suffering, but <em>something</em> else. The feeling is there. The more dramatic songs on side B, 'Prayers For Rain' and 'The Same Deep Water As You' would sound definitely bland if played by The Cure of <strong>Faith</strong>, but here, they don't. And I truly, really tip my hat to the band for that. It's a great development. And Robert really matured as a lyricwriter. Even though his lyrics don't <em>really</em> shine on too brightly here, and the words do sound a bit fanboy angsty at times. But his singing is somehow <em>tasteful</em>, and he addresses them in an almost formal, symbolic way, so it doesn't sound fake at all.</p>

<p>'Prayers For Rain' truly <em>does</em> taste a lot like Goth rock, with an almost religious synth string theme, dramatic guitars and a strong vocal delivery, but they pull it off very well; and 'The Same Deep Water As You' is the longerst song here, and very slow and mellow, but with truly excellent themes and a less dramatic, mellower vocal delivery. I hardly feel it's so long, really! It comes and goes perfectly naturally, and the rain SFX sounds appropriate. The album ends with a true absolute conclusion of everything: the title track is fast and powerful and mighty and long, and it's a truly fantastic song, and even very emotional for The Cure's standards. That tingly synth theme is fabulously memorable, and I like how Smith's vocals build up to a crescendo, like he's really willing to put an end to his gloom and sadness. The effect it causes is brilliant. And the untitled closing track is a gentle little ballad, and it sounds quite <em>hopeful</em>. Even though Smith constantly refers to "hopelessness", the music sounds otherwise, like there <em>is</em> a happier life ahead. Quite the contrary of 'Pornography', isn't it?</p>

<p>In short, this album is an absolute must for anyone. Even if you're not too interested on The Cure, this is an album you should check out. Everything works here; 60 minutes of pure bliss... and if you buy the CD version, you'll have even more: it includes two extra tracks not found in the LP version I own: 'Last Dance' and 'Homesick', that actually are far weaker than everything else on here, and kinda break the flow of the album. Honestly, if you buy it on CD, try to skip those tracks, and you'll hear how the album <em>really</em> should be listened to. It's still quite long for an LP, I know - thirty minutes per side! But I wouldn't want to remove a single minute of the album. It's perfect the way it is: a wonderful and rich listening experience, and that's much more than what I can say about <strong>The Songs Of Distant Earth</strong>.</p>

<p class="ratingHeader">
  Rating:
</p>

<p class="rating">
  <big>Fun factor:  <strong>15/15</strong></big> - Absolutely. Nothing here sounds inadequate.<br />
  <big>Resonance:   <strong>15/15</strong></big> - Yes! These atmospheres truly work! And it's even emotional at times!<br />
  <big>Originality: <strong>14/15</strong></big> - Not Earth-shattering by any means, but highly original.<br />
  <big>Richness:    <strong>15/15</strong></big> - Richest Cure album ever? Possibly!<br />
  <big>Solidness:   <strong>15/15</strong></big> - I couldn't possibly add or subtract anything here.
</p>

<p class="ratingFinale">
  Total: <img src="images/15.png" alt="15" />
</p>

<p>you shatter me your grip on me a hold on me so dull it kills you stifle me infectious sense of hopelessness and prayers for <a href="mailto:sirmustapha@gmail.com">mail</a> i suffocate i breathe in dirt and nowhere shines but desolate and drab the hours all spent on killing time again all waiting for your <a href="mailto:sirmustapha@gmail.com">mail</a></p>

<hr />

<h2 id="wish">Wish (1992)</h2>
<p class="medium">
  Best song: <big>Doing The Unstuck</big>
</p>
<div class="medium">
  Track list:
</div>
<ol>
  <li>Open <span class="good">+</span></li>
  <li>High</li>
  <li>Apart  <span class="good">+</span></li>
  <li>From The Edge Of The Deep Green Sea  <span class="good">+</span></li>
  <li>Wendy Time</li>
  <li><span class="good">Doing The Unstuck ++</span></li>
  <li>Friday I'm In Love <span class="good">+</span></li>
  <li>Trust <span class="good">+</span></li>
  <li>A Letter To Elise  <span class="good">+</span></li>
  <li>Cut</li>
  <li>To Wish Impossible Things</li>
  <li>End</li>
</ol>

<p>You know? Once you put on this album for the first time, on the first minute you'll recognise this album as an album from the 90's. Why? Because the first track, 'Open' (as well as several other tracks here), uses those "groovy", "funky" rhythms that people started using on the 90's. What? Do you think the Cure would keep on making music like <strong>Disintegration</strong> until the end of time? Ha ha, you <strong>Wish</strong>, buddy! Ha ha ha! Muhahaha! Ahahahahaha! I'm so funny, man! I can't believe I'm so funny. Sometimes, I even <strong>Wish</strong> I was less funny so I wouldn't kill myself with laughter! Hahahahahaha! Oh, dear, I bet you <strong>Wish</strong> you were as funny as I am! Hahahahahahahahah! Hahahaha*choke*</p>

<p>Basically, <strong>Wish</strong> picks up from where <strong>Kiss Me Kiss Me Kiss Me</strong> left, but with slight doses of <strong>Disintegration</strong> all over. What do I mean? Listen to 'A Letter To Elise'. It's like 'Pictures Of You' redux! Well, not exactly. It's got the same rhythm, albeit slower, the twangy guitar layers, and the atmosphere. It's a <em>different</em> song, but if you don't get a d&egrave;ja vu, it's because you have a very bad memory. But everywhere else, the songs are quite in the <strong>Kiss Me Kiss Me Kiss Me</strong> vein, whatever that means. And they are very isolated and separated. You know, they don't form a whole, solid mood like <strong>Disintegration</strong> did. This is really a collection of 12 songs, and that kinda reduces the album's impact to me. I prefer the Cure when they're making rich, vast landscapes of sound, be them light or dark, soft or harsh. This album is less focused. Plus, it's annoyingly good. What do I mean? Most songs are good, but that's that. It rarely truly grabs me by the collar and holds me against the wall.</p>

<p>But the good songs are very good, in fact! The mood here is significantly lighter than on <strong>Disintegration</strong>. There are still gloomy, sad songs like 'Trust' and 'Apart', and intense ones like 'From The Edge Of The Deep Green Sea' and 'End', but they're lighter, overall. The sound is less intense and rich, too, but that's not a really big deal. <strong>Kiss Me Kiss Me Kiss Me</strong> also had a somewhat sparse sound, and it was still good. This one is the same. The thing that strikes me is that these songs aren't too <em>memorable</em>! <strong>Disintegration</strong> was filled with things that truly stuck to my head and made me want to return to it over and over. The same with <strong>Kiss Me Kiss Me Kiss Me</strong>! Heck, the same with even <strong>Faith</strong>! These songs here aren't really too melodic, and even the riffs are sparse. It's not like Smith was ever Paul McCartney when it came to melodies, but he managed to make the songs <em>feel</em> melodic, even when they weren't. That is not the case here. Strange, I know, but that's how it is.</p>

<p>But I still like these songs! The slow, intense 'Open' and the faster, longer 'From The Edge Of The Same Deep Green Sea Water As You' are good rockers, definitely different from the likes of 'Disintegration' and 'Fascination Street', somehow. Oddly, though, I prefer the songs that take a poppier route. You probably know 'Friday I'm In Love', with its sugary melody and lyrics. You know, it's the kind of thing that might make you go "is this the <em>Cure</em>?" It's even 'happier' than anything on <strong>The Head On The Door</strong>! Truly odd, but a nice, catchy song. 'Doing The Unstuck' is quite fabulous, too! My favourite on here, with a more convincing delivery and oodles of catchiness. 'Wendy Time' seems to be quite hated among fans, and I honestly can't understand why. What is wrong with it? What I know is that it has a dancier rhythm, a catchy three-note riff, and it has a cool, funky sound. *shrug* Well, I don't understand Cure fans, anyway. 'High' isn't <em>quite</em> my cup of tea, though, but nothing wrong with it either. It's a fun little song.</p>

<p>There are ballads, too. 'Apart' is all darkish and gloomy and whispery, and it's beautiful. Not as atmospheric as 'The Same Deep Water As You', but what is? 'Trust' has an all-gloomy piano line, too, but it's far, far from the bottom-of-the-well hopelessly depressed aura of <strong>Pornography</strong>, distant even from the gravity of 'Prayers For Rain'. And there are those closing tracks... I admit I'm a little underwhelmed by them. 'To Wish Impossible Things' is a good, slow, quiet, heavily atmospheric tune, but 'Cut' and 'End' aren't really too great. Fans might want to eviscerate me, but it's true. I don't really like 'End', with its overused reverse-reverb trick, and the ending that directly rips-off 'Pornography'! Do you remember how that grating blast of white sound rose up in volume until it blasted your eardrums off and <em>stopped</em>, for no reason? They use the same trick here! And 'Cut' is hardly any memorable, even being faster than anything in the previous three albums.</p>

<p>It is a good album. It's just that there doesn't seem to be a clear direction here - not even a "scope", like <strong>Kiss Me Kiss Me Kiss Me</strong> had. You might want the album because of the songs themselves, though. And there <em>are</em> great songs. 'Doing The Unstuck', 'Open', 'From The Edge Of The Deep Green Sea' and 'Friday I'm In Love' are classics, and shall remain like that. But this still seems to be a fan favourite, after all. I know I said how I didn't know what Cure fans' opinions were, but you know? I did a little bit of research this time! Yeah! Research! And I <em>still</em> don't understand Cure fans!</p>

<p>Let them buggers be, anyway. I am not a Cure fan! The "Cure community" scares me somewhat, like Furries. No, scrap that. Not like Furries. Like Japanese! Yeah! Japanese! <em>Those</em> scare me. I mean, honestly, I can't understand the Japanese, much less understand how their culture is invading the Western world like SARS. You know? Those Mangas and Anim&eacute;? Those cartoon girls with eyes bigger than their actual faces? All their erotic video-games and rape fetishes? Pok&eacute;mon, Dragonball and Sailor Moon? That's a scary culture, I mean! I don't want to be involved with that, even though I'm dangerously close. I'm among Internet cultures that are largely attracted to Japanese stuff. But I am not. And I shall not ever be. Period.</p>

<p>Now, <em>PLEASE</em>, don't misunderstand me: this is not xenophobia. I have nothing against neither Japan as a country, nor the Japanese as people. They are perfectly fine, just like the English, the Brazilian, the Jamaican and the French. It's just their <em>culture</em>. I <em>don't</em> like it, and I have my fine reasons for that. Perhaps mostly because I don't <em>live</em> there, yes, I admit, but you know what? There are many things about Brazilian culture that I don't agree with! Lessee, I <em>don't</em> like Football - or better, the way in which Football is worshipped on here. I <em>hate</em> the Carnival, too, but let me explain: I am far from afraid of naked women shaking their butts and pussies on television, nor am I bothering with the "moral" aspect of it. Besides, as an artistic and cultural statement, it is fine (after all, if David Byrne can be fascinated with it, why shouldn't <em>I</em>?). It's just the way it's become such a powerful machine of money and sex. It's an industry, and it has a power of destroying people's minds in a way that it causes poor, hungry people to <em>avoid buying food</em> in order to save enough money to go to the Carnival, and worse: makes thousands of already stupid teenagers to fuck each other, resulting in unwanted pregnancy and STD's everywhere. I don't like that. And even watching the whole thing on TV is boring already. Not my style, thank you. If it's Dave Byrne playing Brazilian music with Caetano Velloso and Gilberto Gil, it's fine, but if it's teenagers using it as an excuse to have easy sex, then it's not fine.</p>

<p>What <em>was</em> I talking about, anyway?</p>

<p class="ratingHeader">
  Rating:
</p>

<p class="rating">
  <big>Fun factor:  <strong>12/15</strong></big> - Oh, yeah! Sure! It's fun!<br />
  <big>Resonance:   <strong>11/15</strong></big> - Not <em>my</em> cup of tea, it you understand me.<br />
  <big>Originality: <strong>12/15</strong></big> - Hm. Aside from the 90's rhythms getting into their music, is there anything <em>really</em> new here?<br />
  <big>Richness:    <strong>11/15</strong></big> - Oh, sure, the songs are good!<br />
  <big>Solidness:   <strong>10/15</strong></big> - Meh. The song quality is pretty even, but they barely fit together.
</p>

<p class="ratingFinale">
  Total: 8.4 = <strong class="grade">8.5</strong>
</p>

<p>Friday I'm In <a href="mailto:sirmustapha@gmail.com">Mail</a>.</p>

<hr />

<h2 id="swings">Wild Mood Swings (1996)</h2>
<p class="medium">
  Best song: <big>Bare</big>
</p>
<div class="medium">
  Track list:
</div>
<ol>
  <li>Want <span class="good">+</span></li>
  <li>Club America</li>
  <li>This Is A Lie <span class="good">+</span></li>
  <li>The 13th</li>
  <li>Strange Attraction</li>
  <li>Mint Car</li>
  <li>Jupiter Crash <span class="good">+</span></li>
  <li>Round &amp; Round &amp; Round</li>
  <li>Gone! <span class="good">+</span></li>
  <li>Numb</li>
  <li>Return</li>
  <li>Trap</li>
  <li>Treasure <span class="good">+</span></li>
  <li><span class="good">Bare ++</span></li>
</ol>

<p>Okay, this is it: The Cure is turning into Teen pop. And I have to admit to you that I <em>hate</em> that kind of pop, disguised as happy dippy rock high on sugar. 'Return', for example, is <em>exactly</em> that kind of "rocking" music with loud guitar chords that fit in perfectly well in teenage drama TV series: it just starts playing, and I can see the stablishing shot of the College, and the following scene, with two young girls talking about relationships or whatever. Right, this must be personal bias. But I just hate that kind of music. I don't think The Cure were going towards <em>that</em> kind of cheap, disgusting commercial move: giving teenagers what they want. I don't even KNOW what teen pop was back in 1996, but this is disturbingly close to the kind of music that just plain disgusts me. It doesn't offend me: it just makes me feel nauseous.</p>

<p>At least, they dropped the angsty factor for good here, so we don't have some form of proto-Evanescence here. But... isn't it weird? Isn't this THE CURE, like, the patriarchs of suicide angst-rock? They are totally dropping the Gothic-like approach of <strong>Disintegration</strong> and bits of <strong>Wish</strong> in favour of... totally... happy music? And not even the kind of "happy", ambivalent music on <strong>The Head On The Door</strong>? 'Strange Attraction'? Come on. This is Robert Smith trying not to be what he really is. Problem is, he's forcing it a bit too much, and it shows. It isn't natural. Plus, the music is just plain mediocre sometimes. 'Strange Attraction', with its pseudo-'Pictures Of You' vibe, only with chimes and effects so childish it's almost gay, and 'Mint Car' - yet ANOTHER remake of 'Just Like Heaven' and 'Friday I'm In Love', though without any kind of creativity and freshness this time around. And everywhere else, there are pointless things like 'Round &amp; Round &amp; Round', that lasts but two minutes and a half, but it could be even shorter, and still would have no reason to exist; and the aforementioned 'Return', that completely passes me by.</p>

<p>And not only that, but the band is trying to be diverse here - sometimes for better, sometimes for worse. Examples? Well, when you listen to 'Club America', it's just absolutely impossible to avoid any U2 comparisons - and I mean the <strong>Achtung Baby</strong> era U2 here. It may want to be a sarcastic jab at the night clubs and stuff, but I have no idea how successful it was. It's just not a very interesting track, really. Smith sings in a very low register, but aside from that, the song isn't worth much. There are some jazzy excursions with brass and stuff, in the fast 'Trap', an ok, fairly catchy song, and the slower, bluesy 'Gone!', with Smith trying to be optimistic once in his lifetime. Do you think that the 1996 Robert Smith singing 'Gone!' to the 1982 Robert Smith would do himself much good? Hmm, interesting question. Personally, I'd say not. But the song is still surprisingly nice. Yes, there <em>are</em> good things in the album! 'This Is A Lie' immitates a fado, with dramatic strings and all, and it's quite beautiful. 'The 13th' isn't too bad, either, with hore horns immitating a Caribbean ballad. It's no big affair, but it's... again, quite nice. 'Numb' hammers some annoying clich&egrave;s (am I the only one who's REALLY squicked when he sings "hopelessly, helplessly" near the beginning? Is he trying to be self-parodic or what?), and the Eastern-tinged strings in the beginning sound like a prelude to crap remakes of 'Wailing Wall', but it's a good, "typical" Cure ballad. Nice stuff.</p>

<p>It's the annoying thing of the album: most of it is just nice, and it keeps alternating with the lame songs like 'Mint Car' and 'Round ampersand Round ampersand Round', and the occasional great track... like 'Jupiter Crash'. Yep, I like that one very much. It has that, um, "Cure vibe" of songs like 'Apart', with a profound atmosphere and actual musical content. 'Want' is the classic angry Cure song, using the smallest number of chords and notes possible and with a stringy riff, but it's not as <em>sad</em> as other stuff. I also have to admit I'm very fond of 'Treasure', yes. It may smell a bit corny, but to me, it's a <em>surprisingly</em> tasteful ballad, and rather moving, for once. I know the lyrics are typical of what "poetic" teenagers may write on each other's yearbooks when they leave school and may not see their friends again, with that talk of "remember me and smile, it's better to forget than to remember me and cry", but... leaving all prejudices aside, it's a <em>beautiful</em> song, and Smith shows surprising sensitivity to the topic. Good work, lads.</p>

<p>But the real highlight is the lengthy closing track, 'Bare'. On surface, it's a typical Cure ballad, but... how does Smith DO it? The song is absolutely fresh and beautiful, and never smells of old ideas recycled. It's the kind of song that doesn't waste a single second, and goes back to the days of 'Untitled' - albeit with acoustic guitars, sparse piano, and a much slower rhythm. Great stuff. I don't think this album <em>sucks</em>, you know. It's just very close to mediocre, and hit-and-miss. I don't mean The Cure was <em>never</em> hit-and-miss, but the misses are worse and more frequent in this album. It's almost annoying. No songs openly suck, though some are close. And with the amoung of good-to-great tracks, this album <em>is</em> listenable, and rather enjoyable. It's just not really outstanding and, in fact, ranks as my least favourite Cure album this far. <strong>Seventeen Seconds</strong> could have been immature and insubstantial at times, but it was a bit more consistent. Consistent this one is <em>not</em>. But it does not suck. You know what sucks? Spring. Yes, the season. It sucks. Maybe only here in my state, but it does suck. You see, this region doesn't have a neat weather curve, like other places do. You see, most places have a hot Summer, gracefully decrease the temperature towards the cold Winter, then gracefully increase the temperature through Spring, back into Summer again. But here, that's not the case. Summer is <em>very hot</em>, and Fall alternates <em>very hot</em> and <em>very cold</em> in random intervals (sometimes it takes one week, sometimes about 8 hours); Winter is <em>very cold</em>, and Spring is just Fall again. I'm serious, guys. And all the illnesses, bacteria and viri choose exactly Spring to spread through people. Season of the flowers my arse; it's the season of illnesses, really. My niece, for example, has caught one of these, and she coughs and it hurts her throat. My workmate also has one of these, and he's <em>CONSTANTLY</em> clearing his throat LOUDLY, ALL THE TIME, and it drives me mad.</p>

<p>Ooh, I just hate Spring.</p>

<p class="ratingHeader">
  Rating:
</p>

<p class="rating">
  <big>Fun factor:  <strong>10/15</strong></big> - Perhaps I'm being generous here, but I feel generous today.<br />
  <big>Resonance:   <strong>7/15</strong></big>  - Hmm... Well, there is 'Treasure' and 'Bare', but there is also 'Club America' and 'Mint Car'...<br />
  <big>Originality: <strong>10/15</strong></big> - Most stuff here is totally typical, and other stuff are just lame attempts at being diverse. Some stuff is fresh, though.<br />
  <big>Richness:    <strong>9/15</strong></big>  - Yeah, okay.<br />
  <big>Solidness:   <strong>7/15</strong></big>  - Bah.
</p>

<p class="ratingFinale">
  Total: <strong class="grade">7</strong>
</p>

<p>Comments? Criticism? <a href="mailto:sirmustapha@gmail.com">Mail me</a>!</p>

<hr />

<h2 id="bloodflowers">Bloodflowers (2000)</h2>
<p class="medium">
  Best song: <big>Out Of This World</big>
</p>
<div class="medium">
  Track list:
</div>
<ol>
  <li>Out Of This World <span class="good">+</span></li>
  <li>Watching Me Fall <span class="good">+</span></li>
  <li>Where The Birds Always Sing <span class="good">+</span></li>
  <li>Maybe Someday</li>
  <li>Coming Up</li>
  <li>The Last Day Of Summer</li>
  <li>There's No If...</li>
  <li>The Loudest Sound</li>
  <li>39 <span class="good">+</span></li>
  <li>Bloodflowers <span class="good">+</span></li>
</ol>

<p>And you know what? I realised that the Cure is a band that's <em>always</em> doing the kind of music that's fashionable in its time. Maybe not the <em>music</em> itself, but at least, the <em>production</em> employed. On the 80's, they always had a very distinctly 80's sound, in every album, and the production style changed quite radically in the 90's, with <strong>Wish</strong>. I don't think they ever focused in making an album that sounded truly <em>timeless</em>, and their only album that sounds <em>truly</em> timeless is <strong>Disintegration</strong>. But the others have the sound from its year. And I realised it when I listened to <strong>Bloodflowers</strong>. And why? Because it has the obvious 2000 production style: the "play your guitar as loudly and noisily as possible and compress the final result until it sounds as loud as possible" production style, that Oasis always liked to much. And this production style genuinely annoys the shit out of me - very useful when I go to the bathroom, btw.</p>

<p>Interestingly, Robert Smith claimed that this album was part of a "trilogy" that includes <strong>Disintegration</strong> and <strong>Pornography</strong>. I can understand all three titles are made of a single long word, but I can't see exactly <em>why</em> these three albums would create a trilogy. Maybe they're the saddest albums in their catalogue? Possibly. But my true gripe is with why, exactly, should this album he related to <strong>Pornography</strong> and <strong>Disintegration</strong>. The former was just downright dark, sick and hopeless, and even nihilistic. The latter was dubious, intriguing and poetic. This one is just... ... obvious. It's deadly uniform and... I dunno. Honestly, I think Robert Smith completely forgot how it feels to be truly sad, and in here, he sounds just plain whiny and annoying. There doesn't seem to be any variety in themes. Even <strong>Pornography</strong> was quite ambiguous, at times, not to mention <strong>Disintegration</strong>. This one is just "Hey, look at me and my ugly mugshot in the album cover, I'm depressed," and I can see how this album could influence Evanescence.</p>

<p>And it's not just "uniform" in themes and subjects: the <em>music</em> is samey, too. Everywhere you get electric guitars strumming distorted chords and shrieking annoyingly, the "slow" songs are just as loud, and there doesn't seem to be many <em>melodies</em> here. Smith was never a master of melody, but he could always find something <em>special</em> to put in his songs. And these songs, honestly, aren't very special. They're quite generic. He even tries to ressurrect the Cure "spirit", with the trademark dangly-dangly guitar tone from 'Plainsong', but I don't think it quite works.</p>

<p>But I'm not saying I just dislike the entire album. No, there <em>are</em> good songs here! I specially like the opener, 'Out Of This World', with its strong reliance on jangly acoustic chords, and the overall <em>beautiful</em> atmosphere. <em>This</em> could make me believe the album was a true follower of <strong>Disintegration</strong>. I really like it. But then, there is 'Maybe Someday', that truly <em>reeks</em> of genericism. 'The Last Day Of Summer' is a weak ballad with whiny lyrics, and 'Coming Up', an extra song included in the double LP release of the album, is just a loud "rocker" that doesn't particularly appeal.</p>

<p>Maybe <em>I</em> am being intolerant? I dunno, this stuff is just not special enough for a Cure album. There's not even the "adventurous" appeal of <strong>Wild Mood Swings</strong>, which contributes to the uniformity of the album. But of course, the quality level of <strong>Bloodflowers</strong> is higher, which justifies its higher rating. It <em>could</em> work as a mood piece, but when did The Cure start making such simple, unappealing mood pieces? I dunno. There are some poppy excourses with 'There's No If...' and 'The Loudest Sound', but they're so... flat, they just stay there. And seriously, if this album is just a plain mood piece, why should it be as important as <strong>Disintegration</strong>? It isn't! Either this "trilogy" thing is just a gimmick, or Smith truly failed with this album... or it was just a marketing trick to release a DVD of the stuff, but I wouldn't go there.</p>

<p>Or maybe I'm just annoyed at the compressed, samey sounds of 'Watching Me Fall', 'Coming Up' and '39'. I really, really, <em>really</em> dislike this kind of production. Maybe if the production had more <em>tact</em>, it wouldn't sound so blurry and braindead. And if it didn't, perhaps the songs could release some hidden potential. I mean, I wouldn't say these songs are <em>worse</em> than the ones in <strong>Disintegration</strong>. What's the measure of "good" and "bad" for The Cure? To me, it was always the way the record transmits a mood, and makes it <em>palpable</em>. <strong>Bloodflowers</strong> doesn't succeed very well in that area. Besides, like I said, I don't think Smith was willing to make this kind of "gloomy" music anymore. He was a happy, married man, not the hopeless drug addict who made <strong>Pornography</strong>, not even the poet in love that made <strong>Disintegration</strong>.</p>

<p>But alright, I do like some of these tracks quite a lot. 'Watching Me Fall' may have a samey sound, but it creates a cool effect in its 11 minutes. Is this the first Cure song that breaks the 10 minute barrier? I think so, and it's nice to see the band developing <em>something</em> in this length. 'Where The Birds Always Sing' is quite beautiful, and the title track has a strange tension running through it. It's nice. And '39' has a plodding, "rocking" rhythm, but at least, it sounds desperate and almost honest. It makes me <em>feel</em> something, so kudos to it.</p>

<p>But everywhere else, this album is just a blur of "sad" music, with very few discernible shiny spots. It's better than Evanescence, of course, but that's not saying much... Oh, okay, it's better than <strong>Wild Mood Swings</strong>, so there. But honestly, in all his carreer, Robert Smith never sounded so annoyingly whiny as he does here. And all the references to the imminent end of The Cure are so obvious, it's not even fun. This could make a good swansong to the band, and it could work. But, of course, Smith just had to blow it and put out <em>another</em> Cure album. Ha!</p>

<p class="ratingHeader">
  Rating:
</p>

<p class="rating">
  <big>Fun factor:  <strong>11/15</strong></big> - Ehh...<br />
  <big>Resonance:   <strong>10/15</strong></big> - <em>Ehh</em>...<br />
  <big>Originality: <strong>11/15</strong></big> - Yeah, kinda generic, you know.<br />
  <big>Richness:    <strong>9/15</strong></big>  - Well, there are <em>some</em> interesting spots here, and not a truly bad moment.<br />
  <big>Solidness:   <strong>11/15</strong></big> - Well, I'll give it <em>this</em> merit.
</p>

<p class="ratingFinale">
  Total: 7.8 = <strong class="grade">8</strong>
</p>

<p>Comments? Ideas? <a href="mailto:sirmustapha@gmail.com">Mail me</a>!</p>

<hr />

<h2 id="cure">The Cure (2004)</h2>
<p class="medium">
  Best song: <big>The End Of The World</big>
</p>
<div class="medium">
  Track list:
</div>
<ol>
  <li>Lost <span class="good">+</span></li>
  <li>Labyrinth</li>
  <li>Before Three <span class="good">+</span></li>
  <li>Truth, Goodness And Beauty</li>
  <li><span class="good">The End Of The World ++</span></li>
  <li>Anniversary <span class="good">+</span></li>
  <li>Us Or Them <span class="good">+</span></li>
  <li>Fake</li>
  <li>alt.end</li>
  <li>(I Don't Know What's Going) On</li>
  <li>Taking Off</li>
  <li>Never</li>
  <li>The Promise <span class="good">+</span></li>
  <li>Going Nowhere <span class="good">+</span></li>
  <li>This Morning</li>
</ol>

<p>Yep, he blew it. Robert Smith made clear that <strong>Bloodflowers</strong> was meant to be The Cure's swansong. This album was also originally envisioned as a Robert Smith solo album, but... well, there. It's a new Cure album. They just won't go away, eh? Well, I guess it was better for the fans. I wonder if there was many a Cure fanatic crying his guts out and slitting his wrists over the prospect of The Cure disbanding. But fear not! Your beloved band is BACK, dude.</p>

<p>And guess what? This album is GOOD! Like, a GOOD, solid album. It's not like <strong>Bloodflowers</strong> <em>wasn't</em> a good album, but this one is better. BETTER, yes! At least in my opinion, of course. But I like this album better than <strong>Bloodflowers</strong>. You see, I guess The Cure stopped trying to make a "big", grandiose statement of sadness and gloom like they tried in the 2000 album. This album is more in the "fragmented" vein of <strong>Wish</strong> and <strong>Wild Mood Swings</strong> (just see the amount of extra tracks included in the Deluxe edition, and even in the vinyl release - the one I'm reviewing gere, for completeness's sake). BUT, it doesn't keep constantly switching between highs and lows like <strong>Mild Wood Strings</strong>. While there are a few duffers here and there, there are several good songs here, and the album is almost entirely enjoyable. And unlike <strong>Floodblowers</strong>, they stopped being whiny bitches and became PISSED OFF and angry and unpredictable. While you could kick, trample and pull the tail of <strong>Blowflooders</strong> and it would merely go cry in the corner, this one will bite the veins out of your throat if you try doing that. It's more electric, more spontaneous, more energetic and, of course, NOISY AND LOUD AS FUCK. But blame that on the producers and engineers and mixers and whatever.</p>

<p>But, oh yes, the production. The guy who produced this album is the same one who produced some Limp Bizkit records. Waugh!! No, no need to panic. This only means that there is some of those weird sounds and effects popping up everywhere, without being obstrusive. And even better, they <em>finally got rid of that backwards-echo effect</em> that was already old the moment they started using it. But it's not all production, here. The songs themselves are quite dandy! I believe it's the first moment on The Cure's official discography that we get to hear a song so openly dissonant and "wrong" sounding as the opener, 'Lost'. The guitar is being played like it was tuned incorrectly, just to give the feeling of being "lost in someone else", but it's cool to hear it being used like that in a Cure song. Plus, Smith pulls all stops and screams like some Nu Metal band singer as the song reaches its end. Yeah! The bitch stopped moaning!</p>

<p>They adopted the style of building tension and volume as the song progresses, and it's used here to a very good effect. 'Labyrinth' is also good, with a slightly silly-sounding "Eastern" guitar line. It's no great shakes, but the lyrics are quite clever, and Smith seems to <em>feel</em> what he's singing. I think, at this point of his carreer, Smith sounds better when he is (or pretends to be) angry rather than sad, and it shows. And the gigantic 'The Promise', clocking in at ten minutes, might seem boring to some people, but I really like it. Each second is used wisely, each note builds tension somehow, and Smith truly conveys the tragic feeling of a broken promise. Everything builds towards a most excellent climax of anger, in a level that The Cure had never achieved before, with all sorts of drum trashing, guitar noise and screams, until only Smith is left, venting "and I waited... and I waited... and <em>I'm still waiting</em>" to the fading guitar noise. Wow, cool!</p>

<p>On a less angry note, we have 'The End Of The World', and... what was the last time that The Cure delivered such a perfect, ideal pop song that's <em>NOT</em> a clone of 'Just Like Heaven'? Seriously! The melody is striking and catchy as hell, and the strange, multipart structure and clever production make this a big oddity in the band's catalogue, and an <em>excellent</em> oddity, I'd say! Of course, they couldn't let the album end without an <em>actual</em> clone of 'Just Like Heaven': this time, it's 'Taking Off', and it's not very special. The guitar screech even reminds of 'Mint Car', and overall, it's not a very special song. But the video is worth watching: see Robert Smith <em>real old</em>, and looking like the Hunchback of Notre Dame.</p>

<p>But yeah, there's some good stuff, some not-so-good stuff. There are spots that sound like the band either didn't have enough material for so many tracks; was really tired by this point or; didn't try hard enough. The 'extra tracks', namely 'Fake', 'This Morning' and 'Truth, Goodness And Beauty' really sound like B-side material, and aren't worth too much of your attention. Only 'Going Nowhere', which is included in some issues of the CD (Brazilian included), is quite great: a beautiful, mellow ballad that goes right back to <strong>Disintegration</strong>, somehow. But you also have stuff like 'Never', an annoying, go-nowhere loud and abrasive rocker that doesn't present <em>real</em> meat like... like 'Us Or Them'! <em>There</em> is a really cool rocker, and you know why? THE LYRICS! I KNOW what is Smith's hidden talent when it comes to lyrics: POLITICS! And not only the lyrics are not subtle, but they're CLEAR AS WATER. "I don't want your 'us or them'." Not enough? "'I live in knowledge of real truth, and all my gods are great,' the doleful cant of a bigot blinded by fear and hate." Eh? Eh? Wow, I'm almost willing to elevate Robert Smith to the status of one of my Personal Heroes just for that line alone. The song itself is a cool, plodding rocker that sweeps many sissy "Nu Metal" bands below the carpet.</p>

<p>There are also beautiful, haunting tracks like 'Before Three' (gotta love the way Smith goes "it's hard to keep this night ali-I-i-I-i-I-i-I-i-I-I-I-I-III-IIIVE!" all the time) and 'Anniversary' (that begins like it's going to suck, but actually doesn't!), but there's also useless things like '(I Don't Know What's Going) On', and no, it's not just because of the title. See, this sounds like... like The Cure playing a CRANBERRIES OUTTAKE or something. It's short, but it's still quite useless, apart from some cool singing in the chorus. At least, it's better than 'Round &amp; Round &amp; Round'. I'm also not <em>TOO</em> fond of 'alt.end', even with the cool reference to Usenet discussion groups. The arpeggio-ed riff is quite cool on first listening, but aside from that, it's kind of generic. Though lyrically it's a fun polar opposite of 'Gone!' from <strong>Wild Mood Swings</strong>. So, what Smith are you going to side with? The "you'd be missing the world" Smith or the "I want this to be the end" Smith? I prefer the latter - sounds more sincere.</p>

<p>But there you go - a GOOD Cure album, in 2004. Oh, screw that "GOOD" thing. This album is <em>very</em> good, and worth your buy if you're a fan. Of course, diehards will want to buy the Deluxe version with all those extra tracks I haven't listened to yet. What? I'm NOT a diehard, anyway. I'm nobody's diehard. But yes, this album gets my respect. It's not a masterpiece or anything, but it's highly recommendable. Let's face it: it could have been another <strong>Wild Mood Swings</strong>, or it could be worse! It seems Smith really cares about the band's fans, and put real effort in his new album. You know how disappointing it is to see your favourite band is coming back... only to release a mediocre or awful album. Kudos to Smith and his band. Smith's a cool guy - even cooler than I once thought he was. If The Cure comes to play in Brazil, I'll watch 'em. They're so cool.</p>

<p class="ratingHeader">
  Rating:
</p>

<p class="rating">
  <big>Fun factor:  <strong>9/10</strong></big>  - Uh huh!<br />
  <big>Resonance:   <strong>9/10</strong></big>  - Guess what? The whole band sounds like they <em>know</em> what they want.<br />
  <big>Originality: <strong>8/10</strong></big>  - Okay, okay, it's not Earth shattering.<br />
  <big>Richness:    <strong>8/10</strong></big>  - Read above.<br />
  <big>Solidness:   <strong>8/10</strong></big>  - If you buy the regular CD version, feel free to raise this a bit. 'Fake' and 'This Morning' aren't too good.
</p>

<p class="ratingFinale">
  Total: 8.4 = <strong class="grade">8.5</strong>
</p>

<p>Iiiiiii can't <a href="mailto:sirmustapha@gmail.com">mail</a> myself!</p>

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